The Gentle Art of Making Enemies, and Is in Part the Record of Some Unpleasantness Between the Brush and Pen
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Angeli, Helen Rossetti, Collector Angeli-Dennis Collection Ca.1803-1964 4 M of Textual Records
Helen (Rossetti) Angeli - Imogene Dennis Collection An inventory of the papers of the Rossetti family including Christina G. Rossetti, Dante Gabriel Rossetti, and William Michael Rossetti, as well as other persons who had a literary or personal connection with the Rossetti family In The Library of the University of British Columbia Special Collections Division Prepared by : George Brandak, September 1975 Jenn Roberts, June 2001 GENEOLOGICAL cw_T__O- THE ROssFTTl FAMILY Gaetano Polidori Dr . John Charlotte Frances Eliza Gabriele Rossetti Polidori Mary Lavinia Gabriele Charles Dante Rossetti Christina G. William M . Rossetti Maria Francesca (Dante Gabriel Rossetti) Rossetti Rossetti (did not marry) (did not marry) tr Elizabeth Bissal Lucy Madox Brown - Father. - Ford Madox Brown) i Brother - Oliver Madox Brown) Olive (Agresti) Helen (Angeli) Mary Arthur O l., v o-. Imogene Dennis Edward Dennis Table of Contents Collection Description . 1 Series Descriptions . .2 William Michael Rossetti . 2 Diaries . ...5 Manuscripts . .6 Financial Records . .7 Subject Files . ..7 Letters . 9 Miscellany . .15 Printed Material . 1 6 Christina Rossetti . .2 Manuscripts . .16 Letters . 16 Financial Records . .17 Interviews . ..17 Memorabilia . .17 Printed Material . 1 7 Dante Gabriel Rossetti . 2 Manuscripts . .17 Letters . 17 Notes . 24 Subject Files . .24 Documents . 25 Printed Material . 25 Miscellany . 25 Maria Francesca Rossetti . .. 2 Manuscripts . ...25 Letters . ... 26 Documents . 26 Miscellany . .... .26 Frances Mary Lavinia Rossetti . 2 Diaries . .26 Manuscripts . .26 Letters . 26 Financial Records . ..27 Memorabilia . .. 27 Miscellany . .27 Rossetti, Lucy Madox (Brown) . .2 Letters . 27 Notes . 28 Documents . 28 Rossetti, Antonio . .. 2 Letters . .. 28 Rossetti, Isabella Pietrocola (Cole) . ... 3 Letters . ... 28 Rossetti, Mary . .. 3 Letters . .. 29 Agresti, Olivia (Rossetti) . -
Stevensoniana; an Anecdotal Life and Appreciation of Robert Louis Stevenson, Ed. from the Writings of JM Barrie, SR Crocket
: R. L. S. AND HIS CONTEMPORARIES 225 XII R. L. S. AND HIS CONTEMPORARIES Few authors of note have seen so many and frank judg- ments of their work from the pens of their contemporaries as Stevenson saw. He was a ^persona grata ' with the whole world of letters, and some of his m,ost admiring critics were they of his own craft—poets, novelists, essayists. In the following pages the object in view has been to garner a sheaf of memories and criticisms written—before and after his death—for the most part by eminent contemporaries of the novelist, and interesting, apart from intrinsic worth, by reason of their writers. Mr. Henry James, in his ' Partial Portraits,' devotes a long and brilliant essay to Stevenson. Although written seven years prior to Stevenson's death, and thus before some of the most remarkable productions of his genius had appeared, there is but little in -i^^^ Mr. James's paper which would require modi- fication to-day. Himself the wielder of a literary style more elusive, more tricksy than Stevenson's, it is difficult to take single passages from his paper, the whole galaxy of thought and suggestion being so cleverly meshed about by the dainty frippery of his manner. Mr. James begins by regretting the 'extinction of the pleasant fashion of the literary portrait,' and while deciding that no individual can bring it back, he goes on to say It is sufficient to note, in passing, that if Mr. Stevenson had P 226 STEVENSONIANA presented himself in an age, or in a country, of portraiture, the painters would certainly each have had a turn at him. -
The Pater Newsletter a Publication of the International Walter Pater Society
THE PATER NEWSLETTER a publication of the international walter pater society EDITOR Lene Østermark-Johansen, University of Copenhagen DEPUTY EDITOR Lesley Higgins, York University, Toronto PRODUCTION EDITOR Sylvia Vance, Toronto EDITORIAL BOARD James Eli Adams, Columbia University Elisa Bizzotto, IUAV University of Venice Laurel Brake, Birkbeck College, University of London J. B. Bullen, University of Reading Bénédicte Coste, Université Paul Valéry, Montpellier Stefano Evangelista, University of Oxford Lesley Higgins, York University, Toronto Catherine Maxwell, Queen Mary College, University of London Noriyuki Nozue, Osaka City University Robert Seiler, University of Calgary Jonah Siegel, Rutgers University FOUNDING EDITORS Billie Andrew Inman and Laurel Brake BOOK REVIEW EDITOR Catherine Maxwell, Queen Mary College, University of London BIBLIOGRAPHER Kenneth Daley, Columbia College, Chicago ANNOTATORS Thomas Albrecht, Tulane University, New Orleans Kit Andrews, Western Oregon University Elisa Bizzotto, IUAV University of Venice Kenneth Daley, Columbia College, Chicago Daichi Ishikawa, Keio University, Tokyo Adam Lee, Sheridan College, Toronto Amanda Paxton, York University, Toronto EDITORIAL CORRESPONDENCE Lene Østermark-Johansen, Department of English, German and Romance Studies, University of Copenhagen, 128 Njalsgade, Building 24, DK-2300 Copenhagen K, Denmark e-mail: [email protected] tel. (+45) 35 328 583 IWPS OFFICERS President, Laurel Brake, Birkbeck College, University of London, Emerita Vice-President, Lesley Higgins, York University, Toronto INTERNATIONAL WALTER PATER SOCIETY CORRESPONDENCE Laurel Brake, Centre for Extramural Studies, Birkbeck College, Russell Square, London UK WC1B 5DQ e-mail: [email protected] Lesley Higgins, York University, Toronto, Ontario, Canada e-mail: [email protected] tel. 416 736 2100, x22344 The Pater Newsletter (ISSN 0264-8342) is published twice yearly by the International Walter Pater Society. -
Picturing Music in Victorian England Suzanne Fagence Cooper
Picturing Music in Victorian England A Thesis submitted for the Degree of Doctor of Philosophy By Suzanne Fagence Cooper Volume 1 Faculty of Design Buckinghamshire Chilterns University College Brunei University November 2005 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author under the terms of the United Kingdom Copyright Acts. No quotation from the thesis and no information derived from it may be published without proper acknowledgement. Abstract This thesis analyses musical imagery created by Victorian artists. It considers paintings, decorative arts and photography, as well as contemporary art criticism and poetry. Focusing on artists associated with Pre-Raphaelitism and a~stheticism, it shows how they used musical subjects to sidestep narrative conventions and concentrate instead on explorations of femininity, colour, mood and sensuality. This thesis begins by considering the musical experience of four artists - Frederic Leighton, Dante Gabriel Rossetti, Edward Burne-Jones and James Whistler - and the influence of personal taste on their musical subjects. It then looks at the depiction of non-Western performance, including images of dancing girls. The third chapter explores the links between music and worship, and the subversion of traditional religious iconography by aestheticist artists. Chapter four analyses images of musical weimen, and especially the late-Victorian interest in mermaids and sirens. The theme of sensuality continues with an investigation of the connections between music and colour, by assessing the influence of Renaissance Venice, Wagner and French theories of synaesthesia on the Victorian art-world. The final chapter looks at the interconnectedness of music, nostalgia and bereavement in aestheticist painting. -
GF Watts, Edward Lear and Portraits of Fame and Nonsense
2 ‘This Is the Sort of Fame for Which I Have Given My Life’: G. F. Watts, Edward Lear and Portraits of Fame and Nonsense Páraic Finnerty George Frederic Watts and Edward Lear each left posterity visual representations of themselves that reveal much about their respective self- fashioning and self- perceived place in Victorian society. Although Watts did not exhibit his self- portraits until the latter part of his career, they record his determination to transcend his lowly background and inhabit the role of great artist. They also chronicle his innovations and experiments in portraiture, which transformed this art form into a biographically revealing medium.1 In the very first of these self- portraits, dated 1834, Watts presents himself as a handsome young man with wavy hair and the attire associated with the Romantic poet or Bohemian, and eyes that suggest sensitivity and resolution. In subse- quent self- portraits, for example the 1846 Self- Portrait in Armour or the 1853 Self- Portrait (The Venetian Senator), Watts poses as the confident artist assured of the dignified and serious nature of his vocation and asserting his place within a European artistic tradition. By the mid- 1860s, Watts had already vindicated the ambition, self- aggrandisement and sense of purpose in these early images; his self- portraits from then onwards reflect his position not merely as one of Britain’s most esteemed painters and sculptors, but as a world- renowned artist. In contrast, in 1831, at the age of 20, Lear drew his first self- portrait and described what he saw: an unattractive, long- necked, big- nosed, ‘half blind’ young man.2 Forty- eight years later, in his poem ‘How Pleasant to know Mr Lear!’, he again mentions some of these physical features, describing his visage as ‘more or less hideous’ and his body as ‘perfectly spherical’, and presents himself as a pleasant, ill- tempered, ‘queer’, ‘crazy old Englishman’ living abroad.3 His correspondence abounds with similar self- caricature in which Lear, typically, depicts himself 53 C. -
THE PRACTICE and CRITICAL RECEPTION of WATERCOLOUR TECHNIQUES in ENGLAND 1850-1880 Volume 1 Fiona Mann
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Oxford Brookes University: RADAR BRUSHING THE SURFACE: THE PRACTICE AND CRITICAL RECEPTION OF WATERCOLOUR TECHNIQUES IN ENGLAND 1850-1880 Volume 1 Vol. 1 only uploaded (main text); vol. 2 (illustrations) not uploaded due to copyright restrictions. Bound copies of complete thesis available for consultation from Oxford Brookes University Library Fiona Mann The degree is awarded by Oxford Brookes University This thesis is submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy June 2011 ii Abstract Twentieth-century art historical research has devoted little attention to the study of watercolour painting techniques and artists’ materials. This is especially true of the period following Turner’s death, when watercolour is said to have been in decline. Yet the period 1850 to 1880 was a period of intense innovation and experimentation, when watercolour painting finally came to be accepted on an equal footing with its rival, the medium of oil. The expansion of annual exhibitions brought dazzling, highly finished works to the attention of the new middle-class buying public, who eagerly scanned the latest press reviews for news and guidance. For the first time, I combine unpublished material from sources including nineteenth- century colourmen’s archives, conservation records and artists’ descendants’ collections, with an analysis of contemporary watercolour manuals and art critical writing in the press, to give a picture of the dramatic changes in technique which occurred at this time. Brilliant new pigments and improved artists’ papers and brushes flooded onto the market via a growing network of artists’ colourmen. -
William Michael Rossetti As Critic: a Digital, Archival Analysis
WILLIAM MICHAEL ROSSETTI AS CRITIC: A DIGITAL, ARCHIVAL ANALYSIS By CHRISTOPHER LEE MANNO Bachelor of Arts, 1977 Virginia Military Institute Lexington, Virginia Master of Arts, 1981 Central Michigan University Mount Pleasant, Michigan Submitted to the Graduate Faculty of AddRan College of Liberal Arts Texas Christian University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 Copyright by Christopher Lee Manno 2013 Manno ii ACKNOWLEDGEMENT This dissertation was made possible by the generous, steadfast support and encouragement of Dr. Linda K. Hughes, plus a lifetime of mentoring and friendship from Dr. Thomas W. Davis. Manno iii TABLE OF CONTENTS I. Introduction ………………………………………………………..….…. 1 II. Biographical Context …..…………………………………………..….…. 3 III. Current Rossetti Scholarship ………………………………………….…. 12 IV. Background ………………………………………………………………. 14 V. The Collected Articles …………………………………………………… 21 VI. Project Components ……………………………………………………… 22 VII. Analysis ………………………………………………………………….. 26 VIII. Findings and Conclusions …………………………………………….….. 92 IX. Appendix 1: Annotations ………………………………………….…….. 111 X. Appendix 2: Current Scholarship on Rossetti’s Criticism …………….… 385 XI. Appendix 3: Charts ……………………………………………………… 388 XII. Works Cited ……………………………………………………………... 402 XIII. Vita XIV. Abstract Manno iv LIST OF FIGURES Figure 1, Article Distribution by Year ………………………………………. 30 Figure 2, Subjects, Modes and Rhetoric 1851-1909 ………………………… 31 Figure 3, Publication by Numbers 1851-1909 .……………………………… 32 Figure 4,