DOCSLIB.ORG

Shadows and Light: Seeing Senescence in British and American Genre Painting, Ca.1850-1910 Lauren Palmor a Dissertation Submitt

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shadows and Light: Seeing Senescence in British and American Genre Painting, Ca.1850-1910 Lauren Palmor a Dissertation Submitt Shadows and Light: Seeing Senescence in British and American Genre Painting, ca.1850-1910 Lauren Palmor A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Susan P. Casteras, Chair Joe Butwin Stuart Lingo Program Authorized to Offer Degree: Art History ©Copyright 2016 Lauren Palmor University of Washington Abstract Shadows and Light: Seeing Senescence in British and American Genre Painting, ca.1850-1910 Lauren Palmor Chair of the Supervisory Committee: Professor Susan P. Casteras Art History This study suggests the potential benefits of enhanced sensitivity towards aging in the history of art. Cultural representations of senescence in nineteenth-century genre painting, whether drawn from scenes of the hearthside, chaperonage, age-disparate coupling, or cross-generational play, provide the visual material from which a general perception of the life course can be drawn. The argument at the center of this study is that something is to be gained for Anglo-American art history from age studies and its related phenomena. Age articulates difference, and abandoning mono-generational research perspectives might sharpen our awareness of the role this difference plays in visual culture. There are unique challenges that one must responsibly address when prying into the omissions and oversights within a discipline, and the thematic image groupings which comprise the chapters of this study were selected to present a survey of the signifiers of old age without adhering to a simple story line. Both American and British visual culture demonstrate instances of lack and plenty in relation to the complex notions of Victorian aging, and ageism in the historiography of art can be made much clearer by reading this evidence with intention and respect. By electing to use the life cycle to appraise and navigate Victorian genre painting, historians of British and American painting would acknowledge the basic notion that ageism is perhaps the most neglected and socially permitted discriminatory system. An assessment of nineteenth-century visual culture designed by this supposition is bound to reveal significant and instructive truths. Dedication This dissertation is dedicated to Lee MacCormick Edwards A woman of immense warmth, spirit, and generosity A truly great teacher Acknowledgements This dissertation grew out of a graduate seminar with Professor Susan P. Casteras in the autumn of 2012. The manner in which she encouraged her doctoral students to consider Victorian bodies, beliefs, and identities laid the foundation for this study. Professor Casteras models an ideal art historical methodology that seeks to uncover neglected and underrepresented narratives in British and American art, and I remain emboldened by her support of this project and my parallel professional pursuits. Other faculty members at the University of Washington generously offered their time and support. Special thanks to the members of my committee, Joe Butwin, Stuart Lingo, and Mona Modiano, who all gave freely of their time and kindness. I would like to express particular gratitude for Professor Butwin’s friendship – over many cups of coffee and circuitous conversations about popular culture, I found answers to questions that I never knew I needed to ask. Marek Wieczorek’s graduate seminars routinely challenged me and inspired me to dedicate myself to a compassionate and responsible art historical practice. A number of animated conversations with Paul Berger sustained me throughout the taxing course of my doctoral exams. Kathleen Woodward, a beloved trailblazer in the field of age studies, was especially kind towards this project in the early stages of its development. She generously gave me a few important age studies books, which later overwhelmed me with a sense of urgency. She helped me to understand the very real substance of ageism, and her work made me feel compelled to fight this last socially acceptable form of discrimination within my own discipline. Ann Langford-Fuchs in the University of Washington School of Art provided reliable counsel and constant reassurance. Her practical support was invaluable, and she is a precious gem in the SoA’s crown. Allan and Mary Kollar ensured that my work received vital support, and their dedication to fostering scholars of American art is unparalleled. The Kollar Fellowship, which I held from 2013-2015, was the most personally meaningful source of funding that I received. The Graduate School Presidential Dissertation Fellowship, provided by the University President, aided the final stages of writing and completing this dissertation. My colleagues in the American Art Department at the Fine Arts Museums of San Francisco motivated me to finish this project and transition into the next stages of my career. Timothy Anglin Burgard, Jane Glover, Abby Dansiger, and Emma Acker all nudged me towards the end of this undertaking in myriad ways. A summer fellowship in the Center for American Art at the Philadelphia Museum of Art gave me a rare opportunity to study in one of the greatest collections of American art, and Kathy Foster and Mark Mitchell both acted as extraordinary mentors. To have encountered only of these remarkable curators and teachers would have been enough – to learn from both Kathy and Mark in the same summer was a true gift. Laura Fravel, my “fellow fellow” at the PMA, was the kindest and most stimulating sounding board any graduate student could have ever wished for. I am so lucky to have befriended a truly great future leader in the field of American art history. Following my summer in Philadelphia, I spent a semester in Delaware in residence as a Dissertation Research Fellow at Winterthur. It was one of the most challenging and rewarding scholarly experiences I could have ever undertaken, and I thank the legion of compassionate and knowledgeable members of the Winterthur community who guided this study. My deepest gratitude is extended to Rosemary Krill, formerly of Winterthur’s academic programs. Rosemary helped with scholarly questions and practical concerns, from reading abstracts to driving fellows to the grocery store. Her ceaseless generosity sustained all of us in Foulsham House. Special thanks are also due to the unparalleled library staff, especially Emilie Guthrie, Lauri Perkins, Jeanne Solensky, and Laura Parrish, who made so many vital materials available and navigable. Thanks to Spencer Wigmore of the University of Delaware for pulling prints for me in the Winterthur collection and for making the time to guide me around the house looking for relevant objects – thanks are also due to Christian Roden for contributing to my tour of Henry Francis Du Pont’s collections. Thanks to Catharine Dann Roeber for allowing me to shadow the paintings block with the Material Culture MA students and for providing additional research guidance and suggestions. Finally, thanks to Kate Fama and Claire Blakey for being wonderful colleagues. The Winterthur fellowship was a mighty unique experience, and I am glad to have shared it with you. So many curators, collectors, archivists, and dealers contributed to the development of my research and writing, and I only hope that I can thank them all sufficiently here. First, I would like to extend the kindest thanks to Jo-Anne Birnie Danzker of the Frye Art Museum. Jo-Anne taught me how to produce scholarly texts in a fierce and gracious manner, and I thank her for including me in some very fine catalogue projects that later helped me map the process of producing a dissertation. Thanks to Patti Junker of the Seattle Art Museum for speaking with me during the early stages of this project’s development. Patti asked me important questions and gave valuable suggestions at an important juncture. Thanks to Eleanor Jones Harvey at the Smithsonian American Art Museum for helping me trim some impossible chapter ideas, also at a very early stage. Judy Sourlaki, Curator of Collections at the Henry Art Gallery, provided similar guidance, and I thank her for stopping me from attempting some difficult age studies and fashion theory work, which I hope to revisit in a future study. Michele Marincola and Sarah Barack both taught me about looking at objects properly over the course of a Mellon Summer Institute in Technical Art History at the Institute of Fine Arts at New York University. Thanks to Hugh Lewis of the Bushey Museum for allowing me complete unrestricted access to the works of Hubert von Herkomer – it was a profound experience and a tribute to my greatest teacher, Lee MacCormick Edwards. Katherine W. Baumgartner, Director of Godel & Co., New York, shared significant images and important catalogue essays. Debra Force, of Debra Force Fine Art, New York, provided images and information related to F.O.C. Darley. Catherine Aurora, Assistant Registrar of the Skirball Cultural Center, Los Angeles, shared significant insight about Henry Mosler. Niki Tiliakos, of Lark Mason Associates, New York, aided my research on George W. Brenneman. Hannah Brignell, Curator of Visual Art at the Graves Gallery, Museums Sheffield provided assistance with research related to Alexander Hohenlohe Burr. Dave McMurray of Lethbridge College, Alberta, an expert on Victorian female anglers, answered my questions about Alfred Wordsworth Thompson with patience and enthusiasm. Katherine McClung-Oakes, Curator at the Bury Art Museum & Sculpture Centre, shared her records related to Carlton Alfred Smith. Angela Clare, Collections Officer of the Calderdale Museums Service sent me information on Arthur Stocks. C. Duncan Connelly, of Thirteenth Colony Arts in Atlanta was exceptionally generous with images and information related to Alfred Wordsworth Thompson’s No Fool Like an Old Fool. Bill Patterson, Archivist for the Philadelphia Sketch Club, kindly copied records related to William E. Winner’s Home From School, which became a favorite object over the course of my research. Thanks to Susan G. Drinan, Registrar of the Philadelphia History Museum at the Atwater Kent, for helping me visit Winner’s picture in offsite storage.
Load more

Recommended publications
  • THE ARTIST's EYES a Resource for Students and Educators ACKNOWLEDGEMENTS
    THE ARTIST'S EYES A Resource for Students and Educators ACKNOWLEDGEMENTS It is with great pleasure that the Bowers Museum presents this Resource Guide for Students and Educators with our goal to provide worldwide virtual access to the themes and artifacts that are found in the museum’s eight permanent exhibitions. There are a number of people deserving of special thanks who contributed to this extraordinary project. First, and most importantly, I would like to thank Victoria Gerard, Bowers’ Vice President of Programs and Collections, for her amazing leadership; and, the entire education and collections team, particularly Laura Belani, Mark Bustamante, Sasha Deming, Carmen Hernandez and Diane Navarro, for their important collaboration. Thank you to Pamela M. Pease, Ph.D., the Content Editor and Designer, for her vision in creating this guide. I am also grateful to the Bowers Museum Board of Governors and Staff for their continued hard work and support of our mission to enrich lives through the world’s finest arts and cultures. Please enjoy this interesting and enriching compendium with our compliments. Peter C. Keller, Ph.D. President Bowers Museum Cover Art Confirmation Class (San Juan Capistrano Mission), c. 1897 Fannie Eliza Duvall (1861-1934) Oil on canvas; 20 x 30 in. Bowers Museum 8214 Gift of Miss Vesta A. Olmstead and Miss Frances Campbell CALIFORNIA MODULE ONE: INTRO / FOCUS QUESTIONS 5 MODULE FOUR: GENRE PAINTING 29 Impressionism: Rebels and Realists 5 Cityscapes 30 Focus Questions 7 Featured Artist: Fannie Eliza Duvall 33 Timeline:
    [Show full text]
  • Antiquarian & Modern
    Blackwell’s Rare Books Blackwell’S rare books ANTIQUARIAN & MODERN Blackwell’s Rare Books 48-51 Broad Street, Oxford, OX1 3BQ Direct Telephone: +44 (0) 1865 333555 Switchboard: +44 (0) 1865 792792 Email: [email protected] Fax: +44 (0) 1865 794143 www.blackwell.co.uk/ rarebooks Our premises are in the main Blackwell’s bookstore at 48-51 Broad Street, one of the largest and best known in the world, housing over 200,000 new book titles, covering every subject, discipline and interest, as well as a large secondhand books department. There is lift access to each floor. The bookstore is in the centre of the city, opposite the Bodleian Library and Sheldonian Theatre, and close to several of the colleges and other university buildings, with on street parking close by. Oxford is at the centre of an excellent road and rail network, close to the London - Birmingham (M40) motorway and is served by a frequent train service from London (Paddington). Hours: Monday–Saturday 9am to 6pm. (Tuesday 9:30am to 6pm.) Purchases: We are always keen to purchase books, whether single works or in quantity, and will be pleased to make arrangements to view them. Auction commissions: We attend a number of auction sales and will be happy to execute commissions on your behalf. Blackwell’s online bookshop www.blackwell.co.uk Our extensive online catalogue of new books caters for every speciality, with the latest releases and editor’s recommendations. We have something for everyone. Select from our subject areas, reviews, highlights, promotions and more. Orders and correspondence should in every case be sent to our Broad Street address (all books subject to prior sale).
    [Show full text]
  • 2010-2011 Newsletter
    Newsletter WILLIAMS G RADUATE PROGRAM IN THE HISTORY OF A RT OFFERED IN COLLABORATION WITH THE CLARK ACADEMIC YEAR 2010–11 Newsletter ••••• 1 1 CLASS OF 1955 MEMORIAL PROFESSOR OF ART MARC GOTLIEB Letter from the Director Greetings from Williamstown! Our New features of the program this past year include an alumni now number well over 400 internship for a Williams graduate student at the High Mu- going back nearly 40 years, and we seum of Art. Many thanks to Michael Shapiro, Philip Verre, hope this newsletter both brings and all the High staff for partnering with us in what promises back memories and informs you to serve as a key plank in our effort to expand opportuni- of our recent efforts to keep the ties for our graduate students in the years to come. We had a thrilling study-trip to Greece last January with the kind program academically healthy and participation of Elizabeth McGowan; coming up we will be indeed second to none. To our substantial community of alumni heading to Paris, Rome, and Naples. An ambitious trajectory we must add the astonishingly rich constellation of art histori- to be sure, and in Rome and Naples in particular we will be ans, conservators, and professionals in related fields that, for a exploring 16th- and 17th-century art—and perhaps some brief period, a summer, or on a permanent basis, make William- sense of Rome from a 19th-century point of view, if I am al- stown and its vicinity their home. The atmosphere we cultivate is lowed to have my way.
    [Show full text]
  • To Anthon Van Rappard. the Hague, on Or About Sunday, 22 October 1882
    To Anthon van Rappard. The Hague, on or about Sunday, 22 October 1882. on or about Sunday, 22 October 1882 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. no. b8349 V/2006 Date: In De brieven 1990 this letter is dated on or about 29 October 1882, which results in a very high density of letters to Van Rappard in the last days of October. Moreover, it leads to the strange situation that, at a time when Van Gogh and Van Rappard are corresponding with great frequency about illustrations, for four weeks (roughly from the end of September to the end of October) no letters pass between them. This is why we have placed the letter a little earlier in October. Van Gogh wrote on or about 23 September that within 14 days (perhaps even sooner) he expected to have a collection of prints in his possession (letter 268, ll. 49-50). The postscript in letter 274 of 22 October shows that by then he had received the new woodcuts, whereas in letter 272 of 15 October he doesnt yet mention them, so we assume that the acquisition came into his hands in the intervening week. The obvious conclusion is that the list of monograms in the present letter was drawn up wholly or partly because of this acquisition. Whether this was done after Sunday, 22 October (and thus before or after letter 274) is impossible to determine, but it must have been around then, so we date the letter to on or about Sunday, 22 October.
    [Show full text]
  • The Marriage Contract in Fine Art
    The Marriage Contract in Fine Art BENJAMIN A. TEMPLIN* I. INTRODUCTION ................................................................................ 45 II. THE ARTIST'S INTERPRETATION OF LAW ...................................... 52 III. THE ARNOLFINI MARRIAGE: CLANDESTINE MARRIAGE CEREMONY OR BETROTHAL CONTRACT? .............................. ........................ .. 59 IV. PRE-CONTRACTUAL SEX AND THE LAWYER AS PROBLEM SOLVER... 69 V. DOWRIES: FOR LOVE OR MONEY? ........................ ................ .. .. 77 VI. WILLIAM HOGARTH: SATIRIC INDICTMENT OF ARRANGED MARRIAGES ...................................................................................... 86 VII. GREUZE: THE CIVIL MARRIAGE CONTRACT .................................. 93 VIII.NINETEENTH AND TWENTIETH CENTURY COMPARISONS ................ 104 LX . C ONCLUSION ..................................................................................... 106 I. INTRODUCTION From the Middle Ages to the Enlightenment, several European and English artists produced paintings depicting the formation of a marriage contract.' The artwork usually portrays a couple-sometimes in love, some- * Associate Professor, Thomas Jefferson School of Law. For their valuable assis- tance, the author wishes to thank Susan Tiefenbrun, Chris Rideout, Kathryn Sampson, Carol Bast, Whitney Drechsler, Ellen Waldman, David Fortner, Sandy Contreas, Jane Larrington, Julie Kulas, Kara Shacket, and Dessa Kirk. The author also thanks the organizers of the Legal Writing Institute's 2008 Summer Writing Workshop
    [Show full text]
  • Annual Report 2018/2019
    Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Charles Gleyre's Penthée and the Creative Imagination
    Charles Gleyre's Penthée and the creative imagination Autor(en): Hauptman, William Objekttyp: Article Zeitschrift: Zeitschrift für schweizerische Archäologie und Kunstgeschichte = Revue suisse d'art et d'archéologie = Rivista svizzera d'arte e d'archeologia = Journal of Swiss archeology and art history Band (Jahr): 43 (1986) Heft 2 PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-168781 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Charles Gleyre's Penthée and the Creative Imagination by William Hauptman f&fm W Fig Charles Gleyre, Penthée poursuivi par les Mènads, 1864-5.121x200,7 cm, oil on canvas.
    [Show full text]
  • The Book Can Be Downloaded Here. Every Corner Was a Picture 4Th
    EVERY CORNER WAS A PICTURE 165 artists of Newlyn and the Newlyn Art Colony 1880–1900 a checklist compiled by George Bednar Fourth Edition 1 2 EVERY CORNER WAS A PICTURE 165 artists of Newlyn and the Newlyn Art Colony 1880–1900 Fourth Edition a checklist compiled by George Bednar ISBN 978 1 85022 192 0 1st edition published 1999 West Cornwall Art Archive 2nd edition © Truran 2004, revised 2005 3rd edition © Truran 2009, revised 2010, 2015 4th edition © Truran 2020 Published byTruran, an imprint of Tor Mark, United Downs Ind Est, St Day, Redruth TR16 5HY Cornwall www.truranbooks.co.uk Printed and bound in Cornwall by R. Booth Ltd, The Praze, Penryn, TR10 8AA Cover image: Walter Langley The Breadwinners/Newlyn Fishwives (Penlee House Gallery & Museum) Insert photographs: © Newlyn Artists Photograph Album, 1880s, Penlee House Gallery & Museum & Cornwall Studies Centre, Redruth ACKNOWLEDGEMENTS I take this opportunity to thank Heather and Ivan Corbett, as well as Yvonne Baker, Steve Baxter, Alison Bevan (Director, RWA, formerly Director, Penlee House), John Biggs, Ursula M. Box Bodilly, Cyndie Campbell (National Gallery of Canada), Michael Carver, Michael Child, Robin Bateman, Michael Ginesi, Iris M. Green, Nik Hale, Barbara B. Hall, Melissa Hardie (WCAA), James Hart, Elizabeth Harvey-Lee, Peter Haworth, Katie Herbert (Penlee House, who suggested Truran), Jonathan Holmes, Martin Hopkinson, Ric and Lucy James, Tom and Rosamund Jordan, Alice Lock, Huon Mallallieu, David and Johnathan Messum, Stephen Paisnel, Margaret Powell, M.C. Pybus, Claus Pese, Brian D. Price, Richard Pryke, John Robertson, Frank Ruhrmund, Denise Sage, Peter Shaw, Alan Shears, Brian Stewart, David and Els Strandberg, Leon Suddaby, Sue and Geoffrey Suthers, Peter Symons, Barbara Thompson, David Tovey, Archie Trevillion, Ian Walker, Peter Waverly, John and Denys Wilcox, Christopher Wood, Laura Wortley, Nina Zborowska, and Valentine and John Foster Tonkin.
    [Show full text]
  • A Victorian Artists Haven. Wormley and Sandhills
    Walk 5 A Victorian Artists’ Haven Wormley and Sandhills Map: OS Explorer 133 – Haslemere & Petersfield Scale 1:25,000 Start: Park in New Road on single yellow line after 10 am or in the station car park (there is a charge). Alternatively park in Brook Road or come by train. Grid Ref: New Road: SU957378 Distance: 5km/3 mile over easy terrain using both the public roads (with and without pavements) and public footpaths that can be muddy in wet weather. Please Note: All the properties mentioned on this walk are privately owned and permission has not been requested to walk on their land. 1 Walk 5 A Victorian Artists’ Haven Wormley and Sandhills Directions No artistic colony can ever have been more agreeable than the little community that flourished at Witley in the second half of the 19th Century. Of the 25 distinguished writers and painters who lived in this area between 1860 and 1905 over half of them resided in this small area in the south of the parish, attracted down from London with the arrival of the railways. With your back to the A283 walk up New Road to Combe Lane, cross over and proceed ahead to Witley station. Proceed to the top of the station car park and take the public footpath over the railway line and continue ahead over a cross roads. When the footpath meets a road turn left. Redlands is on your left. Arthur Melville RWS, ARSA (1855-1904) rented the house from his friend Walford Graham Robertson. The Studio is next to Redlands.
    [Show full text]
  • Copyright Statement
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2017 Dogs and Domesticity Reading the Dog in Victorian British Visual Culture Robson, Amy http://hdl.handle.net/10026.1/10097 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Copyright Statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii Dogs and Domesticity Reading the Dog in Victorian British Visual Culture by Amy Robson A thesis submitted to Plymouth University in partial fulfilment for the degree of PhD Art History, 2017 Humanities and Performing Arts 2017 iii Acknowledgements I would like to express my deepest gratitude to my supervisors, Dr James Gregory and Dr Jenny Graham, for their ongoing support throughout this project. I would also like to extend immeasurable thanks to Dr Gemma Blackshaw, who was involved in the early and later stages of my research project. Each of these individuals brought with them insights, character, and wit which helped make the PhD process all the more enjoyable.
    [Show full text]
  • A History of US Literary Culture in the Long Nineteenth Century
    Literature in the Making OXFORD STUDIES IN AMERICAN LITERARY HISTORY Gordon Hutner, Series Editor Family Money Jeffory A. Clymer America’s England Christopher Hanlon Writing the Rebellion Philip Gould Antipodean America Paul Giles Living Oil Stephanie LeMenager Making Noise, Making News Mary Chapman Territories of Empire Andy Doolen Propaganda 1776 Russ Castronovo Playing in the White Stephanie Li Literature in the Making Nancy Glazener Surveyors of Customs Joel Pfister The Moral Economies of American Authorship Susan M. Ryan After Critique Mitchum Huehls Literature in the Making a history of u.s. literary culture in the long nineteenth century Nancy Glazener 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2016 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization.
    [Show full text]