Victorian Material Culture
Victoria Mills, Kate Nichols, Victoria Mills, Kate Nichols
- 500 páginas
- English
- ePUB (apto para móviles)
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Victorian Material Culture
Victoria Mills, Kate Nichols, Victoria Mills, Kate Nichols
Información del libro
From chatelaines to whale blubber, ice making machines to stained glass, this six-volume collection will be of interest to the scholar, student or general reader alike - anyone who has an urge to learn more about Victorian things. The set brings together a range of primary sources on Victorian material culture and discusses the most significant developments in material history from across the nineteenth century. The collection will demonstrate the significance of objects in the everyday lives of the Victorians and addresses important questions about how we classify and categorise nineteenth-century things. This volume on 'Victorian Arts' will include sources on painting sculpture, book illustration, photography and the much-neglected area of Victorian stained glass.
Preguntas frecuentes
Información
PART 1 Paintings
1.1 Artists’ materials
1.1 Artists’ materials
Notes
- 1 An overview is provided by Joyce H. Townsend, ‘The Materials used by British Oil Painters in the Nineteenth-Century’, Tate Papers, 2 (2004), at https://www.tate.org.uk/research/publications/tate-papers [accessed 15 June 2021]. More detailed analysis is provided in Leslie Carlyle, The Artist’s Assistant: Oil Painting Instruction Manuals and Handbooks in Britain, 1800–1900, with Reference to Selected Eighteenth-century Sources (London: Archetype, 2001). Jason Edwards offers an essential critical reflection on the use of whale oil in Turner’s paintings in ‘The Vegan Viewer in the Circum-Polar World; Or, J. H. Wheldon’s The Diana and Chase in the Arctic (1857)’, in E. Quinn and B. Westwood (eds), Towards a Vegan Theory. Thinking Veganism in Literature and Culture (Cham, Switzerland: Palgrave Macmillan, 2018), pp. 79–106.
- 2 Jane Munro (ed.), Silent partners: artist and mannequin from function to fetish (New Haven and London: Yale University Press, 2014).
- 3 A survey of other sources for nineteenth-century artists materials is provided by Townsend, ‘Materials Used by British Oil Painters’. Briefly, these comprise: inventories of artists’ studios at their deaths (e.g. Turner); archives of artists’ colourmen; artists correspondence; surviving materials (such as artists’ palettes).
- 4 David Peters Corbett, The World in Paint: Modern Art and Visuality in England, 1848–1914 (Manchester: Manchester University Press, 2004), pp. 83–127; Kirsty Sinclair Dootson, “The Texture of Capitalism: Industrial Oil Colours and the Politics of Paint in the Work of G.F. Watts”, British Art Studies, 14 (2019), at www.britishartstudies.ac.uk [accessed 15 June 2021].
- 5 R. D. Harley, ‘Oil colour containers: Development work by artists and colourmen in the nineteenth century’, Annals of Science, 27:1 (1971), pp. 1–12.
- 6 For an overview, see Paint & painting: an exhibition and working studio sponsored by Winsor & Newton to celebrate their 150th anniversary (London: Tate Gallery, 1982), pp. 35–44.
- 7 William Holman Hunt, ‘The Present System of Obtaining Materials in use by Artist Painters, as Compared with that of the Old Masters’, Journal of the Society of Arts (23 April 1880), pp. 485–99, on p. 498.
- 8 See further Elizabeth Prettejohn, Modern painters, old masters: the art of imitation from the Pre-Raphaelites to the First World War (New Haven and London: Yale University Press, 2017).
- 9 Holman Hunt, ‘Present System of Obtaining Materials’, p. 498.
- 10 For more on Holman Hunt and materials, see M. R. Katz, ‘Holman Hunt on Himself: textual evidence in aid of technical analysis’, in E. Hermens (ed.) Looking Through Paintings: the Study of Painting Techniques and Materials in Support of Art Historical Research (London: Archetype, 1998), pp 415–44; Carol Jacobi, William Holman Hunt: Painter, Painting, Paint (Manchester: Manchester University Press, 2006).
- 11 Lynn Roberts, ‘Nineteenth-Century English Picture Frames I: The Pre-Raphaelites’, International Journal of Museum Management and Curatorship, 4 (1985), pp. 155–172.
- 12 Lynn Roberts, ‘Nineteenth-Century English Picture Frames II: The Victorian High Renaissance’, International Journal of Museum Management and Curatorship, 5 (1986), pp. 273–293.
- 13 Manchester Guardian, 24 April 1860, reproduced in F. G. Stephens, William Holman Hunt and his Works: a memoir of the artist’s life, with description of his pictures (London: James Nisbet and Co., 1860), p. 115.
- 14 Philip Gilbert Hamerton, Thoughts About Art (London: Macmillan and Co., 1873), p. 369.