"Extending the scholarly discussion of visual history, this book examines eighteenth-century engraved book illustrations in order to outline the genealogy of the modern visualization of the past in Britain. This study is based on a body of more than a hundred engraved historical plates designed in the second half of the eighteenth century in Britain and published in more than a dozen pictorial histories. Focusing on these previously unstudied engravings, this work contributes to the study of eighteenth-century visual culture and is informed by current interdisciplinary approaches at the intersection of visual and book studies. This book is about the urge to envision the past and about the establishment of the new relationship between visual media, visuality and history in eighteenth-century Britain. The book will be of interest to scholars working in art history, British history, book studies, and visual culture"--
Extending the scholarly discussion of visual history, this book examines eighteenth-century engraved book illustrations in order to outline the genealogy of the modern visualisation of the past in Britain. This study is based on a body of more than a hundred engraved historical plates designed in the second half of the eighteenth century in Britain and published in more than a dozen pictorial histories. Focusing on these previously unstudied engravings, this work contributes to the study of eighteenth-century visual culture and is informed by current interdisciplinary approaches at the intersection of visual and book studies. Eighteenth-Century Engravings and Visual History in Britain is about the urge to envision the past and about the establishment of the new relationship between visual media, visuality, and history in eighteenth-century Britain. The book will be of interest to scholars working in art history, British history, book studies, and visual culture.
When students gathered in a London coffeehouse and smoked tobacco; when Yorkshire women sipped sugar-infused tea; or when a Glasgow family ate a bowl of Indian curry, were they aware of the mechanisms of imperial rule and trade that made such goods readily available? In Eating the Empire, Troy Bickham unfolds the extraordinary role that food played in shaping Britain during the long eighteenth century (circa 1660–1837), when such foreign goods as coffee, tea, and sugar went from rare luxuries to some of the most ubiquitous commodities in Britain—reaching even the poorest and remotest of households. Bickham reveals how trade in the empire’s edibles underpinned the emerging consumer economy, fomenting the rise of modern retailing, visual advertising, and consumer credit, and, via taxes, financed the military and civil bureaucracy that secured, governed, and spread the British Empire.
This book proposes new understandings of modern life in Britain by bringing constructs of female spirituality centre stage and examining three ‘forgotten’ artists identified with the Pre-Raphaelites and Victorianism. Thomas Cooper Gotch, Robert Anning Bell and Frederick Cayley Robinson are resituated squarely within the tumultuous social and cultural changes of the period. Becoming visible again, in more inclusive histories, allows such artists not only to re-inhabit but to reshape narratives of modernism, reanimating the scholarly discourse and creating a dynamic cultural history of modern Britain expressed through their striking visions of womanhood. This book will be of interest to scholars in art history, gender studies and British studies.
A critical study of the life of art criticism in the 1970s, this volume traces the evolution of art and art criticism in a pivotal period in post-war British history. JJ Charlesworth explores how art critics and the art press attempted to negotiate new developments in art, faced with the challenges of conceptualism, alternative media, new social movements and radical innovations in philosophy and theory. This is the first comprehensive study of the art press and art criticism in Britain during this pivotal period, seen through the lens of its art press, charting the arguments and ideas that would come to shape contemporary art as we know it today. This book will be of interest to scholars working in art history, British cultural history and history of journalism.
By the end of the eighteenth century London was the second largest city in the world, its relentless growth fuelled by Britain's expanding empire. Before the age of photography, the most widely used means of creating a visual record of the changing capital was through engravings and drawings, and those that survive today are invaluable in showing us what the capital was like in the century leading up to the Industrial Revolution.This book contains over one hundred images of the Greater London area before 1800 from maps, drawings, manuscripts, printed books and engravings, all from the Gough Collection at the Bodleian Library. Examples are drawn from the present Greater London to contrast town and countryside at the time. Panoramas of the river Thames were popular illustrations of the day, and the extraordinarily detailed engravings made by the Buck brothers are reproduced here. The construction, and destruction, of landmark bridges across the river are also shown in contemporary engravings.Prints made of London before and after the Great Fire show how artists and engravers responded to contemporary events such as executions, riots, fires and even the effects of a tornado. They also recorded public spectacles, creating beautiful images of firework displays and frost fairs on the river Thames.This book presents rare material from the most extensive collection on British topography assembled in this period by a private collector, providing a fascinating insight into life in Georgian London.
What can visual artifacts tell us about the past? How can we interpret them rigorously, weaving their formal and material qualities into rich social contexts to reach wider historical conclusions? Unfolding key historiographical and methodological issues, Writing Visual Histories equips students to answer these questions, showing visual analysis to be a key skill in historical research. A multifaceted structure makes this a practical guide for writing and reflecting on visual histories. A first section includes six case studies -- on topics ranging from medieval heraldry to Life magazine. These examples are followed by an exploration of essential concepts that inform historical thinking about visual matters, a treatment of disciplinary practices, and discussion of the practicalities (such as accessing museum collections and organising permissions) that scholars working with visual sources have to navigate. This book is an invaluable tool kit for opening up a historical understanding of visual phenomena and practices of looking, and for writing that takes an integrated approach to studies of the past.
The Oxford History of Western Art is an innovative and challenging reappraisal of how the history of art can be presented and understood. Through a carefully devised modular structure, readers are given insights not only into how and why works of art were created, but also how works in different media relate to each other across time. Here--uniquely--is not the simple, linear "story" of art, but a rich series of stories, told from varying viewpoints. Carefully selected groupings of pictures give readers a sense of the visual "texture" of the various periods and episodes covered. The 167 illustration groups, supported by explanatory text and picture captions, create a sequence of "visual tours"--not merely a procession of individually "great" works viewed in isolation, but juxtapositions of significant images that powerfully convey a sense of the visual environments in which works of art need to be viewed in order to be understood and appreciated. The aim throughout is to make the shape and nature of these visual presentations a stimulating and rewarding experience, allowing readers to become active participants in the process of interpretation and synthesis. Another key feature of the narrative is the re-definition of traditional period boundaries. Rather than relying on conventional labels such as Medieval, Renaissance, and Baroque, the book establishes five major phases of significant historical change that unlock longer and more meaningful continuities. This new framework shows how the major religious and secular functions of art have been forged, sustained, transformed, revived, and revolutionized over the ages; how the institutions of Church and State have consistently aspired to make art in their own image; and how the rise of art history itself has come to provide the dominant conceptual framework within which artists create, patrons patronize, collectors collect, galleries exhibit, dealers deal, and art historians write. Though the coverage of topics focuses on European notions of art and their transplantation and transformation in North America, space is also given to cross-fertilizations with other traditions---including the art of Latin America, the Soviet Union, India, Africa (and Afro-Caribbean), Australia, and Canada. Written by a team of 50 specialist authors working under the direction of renowned art historian Martin Kemp, The Oxford History of Western Art is a vibrant, vigorous, and revolutionary account of Western art serving both as an inspirational introduction for the general reader and an authoritative source of reference and guidance for students.
Hitherto relegated to the closets of art history and literary studies, book illustration has entered mainstream scholarship. The chapters of this collection offer only a glimpse of where a complete reconfiguration of the visual periphery of eighteenth-century texts might ultimately take us. The use of the gerund of the verb “to reconfigure” in the subtitle of this collection, instead of the corresponding noun, underlines the work-in-progress character of this interdisciplinary endeavour, which aims above all to discern new vistas while charting or revisiting landmarks in the rich field of eighteenth-century book illustration. The specific interpretive lenses through which contributors to this collection re-evaluate the visual periphery of the text cover an array of disciplines and areas of interest; among these, the most prominent are book history and print culture, art history and image theory, material and visual culture, word and image interaction, feminist theory and gender studies, history of medicine and technology. This spectrum could have been even less restrictive and more colourful if it were not for pragmatic and editorial considerations. Nonetheless, its plurality of vision provides a framework for an inclusive and multifaceted approach to eighteenth-century book illustration. Perhaps these essays are most valuable in the practical models they provide on how to tackle the interdisciplinary challenge that is the study of the eighteenth-century illustrated book. The collection as such is the first formal step in an effort to rethink or reconfigure the visual periphery of eighteenth-century texts. It has become clear that the study of the illustrated book of the Age of Enlightenment has the potential of yielding multiple findings, perspectives and discourses about a society immersed in visual culture, skilled in visual communication and reflected in the visual legacy it left behind.
