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An Exhibition History of Victorian Leeds is a groundbreaking
account of the city’s cultural history through its public
exhibitions. Offering a vivid analysis of these striking displays
in appropriated spaces, it explores Leeds’ relationship with fine
and decorative arts, industrial culture and the sciences over the
course of the nineteenth century. This significant contribution to
urban history establishes Leeds’ importance to the development of
British art and design, collecting practices and museum culture,
firmly situated in their regional, national and international
contexts. From temporary exhibitions in music halls and cloth
halls, hospitals and military barracks emerged the networks and
structures that informed the development of the city’s permanent
cultural institutions. The book closes with the first comprehensive
history of the establishment of Leeds Art Gallery, its inaugural
exhibitions and founding donations, which would go on to form one
of the strongest collections of fine art in the country.
This book is about encounters between art and industry in
nineteenth-century Britain. It looks beyond the oppositions
established by later interpretations of the work of John Ruskin,
William Morris and the Arts and Crafts movement to reveal
surprising examples of collaboration - between artists,
craftspeople, designers, inventors, curators, engineers and
educators - during a crucial period in the formation of the
cultural and commercial identity of Britain and its colonies.
Across thirteen chapters by fourteen contributors, Art versus
industry? explores such diverse subjects as the production of lace,
the mechanical translation of sculpture, the display of stained
glass, the use of the kaleidoscope in painting and pattern design,
the emergence of domestic electric lighting and the development of
art and design education and international exhibitions in India. --
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Born near the Tuscan province of Lucca in 1815, Domenico Brucciani
became the most important and prolific maker of plaster casts in
nineteenth-century Britain. This first substantive study shows how
he and his business used public exhibitions, emerging museum
culture and the nationalisation of art education to monopolise the
market for reproductions of classical and contemporary sculpture.
Based in Covent Garden in London, Brucciani built a network of
fellow Italian émigré formatori and collaborated with other
makers of facsimiles—including Elkington the electrotype
manufacturers, Copeland the makers of Parian ware and Benjamin
Cheverton with his sculpture reducing machine—to bring sculpture
into the spaces of learning and leisure for as broad a public as
possible. Brucciani’s plaster casts survive in collections from
North America to New Zealand, but the extraordinary breadth of his
practice—making death masks of the famous and infamous, producing
pioneering casts of anatomical, botanical and fossil specimens and
decorating dance halls and theatres across Britain—is revealed
here for the first time. By making unprecedented use of the
nineteenth-century periodical press and dispersed archival sources,
Domenico Brucciani and the Formatori of Nineteenth-Century Britain
establishes the significance of Brucciani’s sculptural practice
to the visual and material cultures of Victorian Britain and
beyond.
Born near the Tuscan province of Lucca in 1815, Domenico Brucciani
became the most important and prolific maker of plaster casts in
nineteenth-century Britain. This first substantive study shows how
he and his business used public exhibitions, emerging museum
culture and the nationalisation of art education to monopolise the
market for reproductions of classical and contemporary sculpture.
Based in Covent Garden in London, Brucciani built a network of
fellow Italian emigre formatori and collaborated with other makers
of facsimiles-including Elkington the electrotype manufacturers,
Copeland the makers of Parian ware and Benjamin Cheverton with his
sculpture reducing machine-to bring sculpture into the spaces of
learning and leisure for as broad a public as possible. Brucciani's
plaster casts survive in collections from North America to New
Zealand, but the extraordinary breadth of his practice-making death
masks of the famous and infamous, producing pioneering casts of
anatomical, botanical and fossil specimens and decorating dance
halls and theatres across Britain-is revealed here for the first
time. By making unprecedented use of the nineteenth-century
periodical press and dispersed archival sources, Domenico Brucciani
and the Formatori of Nineteenth-Century Britain establishes the
significance of Brucciani's sculptural practice to the visual and
material cultures of Victorian Britain and beyond.
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