If We All Waited to Publish Our One-Name Study Until We Felt We Had Found the Ultimate Answer, We Would Probably Not Publish at All
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The Art of Victorian Photography
THE ART OF VICTORIAN Dr. Laurence Shafe [email protected] PHOTOGRAPHY www.shafe.uk The Art of Victorian Photography The invention and blossoming of photography coincided with the Victorian era and photography had an enormous influence on how Victorians saw the world. We will see how photography developed and how it raised issues concerning its role and purpose and questions about whether it was an art. The photographic revolution put portrait painters out of business and created a new form of portraiture. Many photographers tried various methods and techniques to show it was an art in its own right. It changed the way we see the world and brought the inaccessible, exotic and erotic into the home. It enabled historic events, famous people and exotic places to be seen for the first time and the century ended with the first moving images which ushered in a whole new form of entertainment. • My aim is to take you on a journey from the beginning of photography to the end of the nineteenth century with a focus on the impact it had on the visual arts. • I focus on England and English photographers and I take this title narrowly in the sense of photographs displayed as works of fine art and broadly as the skill of taking photographs using this new medium. • In particular, • Pre-photographic reproduction (including drawing and painting) • The discovery of photography, the first person captured, Fox Talbot and The Pencil of Light • But was it an art, how photographers created ‘artistic’ photographs, ‘artistic’ scenes, blurring, the Pastoral • The Victorian -
The Economics of Cultural Diversity: Lessons from British Cities
The London School of Economics and Political Science The Economics of Cultural Diversity: Lessons from British cities Max Nathan A thesis submitted to the Department of Geography and Environment of the London School of Economics for the degree of Doctor of Philosophy. September 2011 1 Declaration I certify that the thesis I have presented for examination for the PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without the prior written consent of the author. I warrant that this authorization does not, to the best of my belief, infringe the rights of any third party. MAX NATHAN 2 Abstract This thesis examines the economic effects of cultural diversity; it focuses on recent experience in British cities, and on links between migrant and minority communities, diversity and innovation. Like many western societies Britain is becoming more culturally diverse, a largely urban process driven by net immigration and growing minority communities. Despite significant public interest we know little about the economic impacts. This PhD aims to fill these major gaps. First, I explore connections between diversity, immigration and urban outcomes. I ask: does diversity help or hinder urban economic performance? Initial cross-sectional analysis finds positive associations between ‘super-diversity’ and urban wages. -
Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013
Updated Wednesday, February 13, 2013 | 2:36:43 PM Last updated Wednesday, February 13, 2013 Updated Wednesday, February 13, 2013 | 2:36:43 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 Pre-Raphaelites: Victorian Art and Design, 1848-1900 February 17, 2013 - May 19, 2013 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required (*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. Ford Madox Brown The Seeds and Fruits of English Poetry, 1845-1853 oil on canvas 36 x 46 cm (14 3/16 x 18 1/8 in.) framed: 50 x 62.5 x 6.5 cm (19 11/16 x 24 5/8 x 2 9/16 in.) The Ashmolean Museum, Oxford, Presented by Mrs. W.F.R. Weldon, 1920 William Holman Hunt The Finding of the Saviour in the Temple, 1854-1860 oil on canvas 85.7 x 141 cm (33 3/4 x 55 1/2 in.) framed: 148 x 208 x 12 cm (58 1/4 x 81 7/8 x 4 3/4 in.) Birmingham Museums and Art Gallery, Presented by Sir John T. -
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100 Books With Original Photographs 1846–1919 PAUL M. HERTZMANN, INC. MARGOLIS & MOSS 100 BOOKS With ORIGINAL PHOTOGRAPHS 1846–1919 PAUL M. HERTZMANN, INC. MARGOLIS & MOSS Paul M. Hertzmann & Susan Herzig David Margolis & Jean Moss Post Office Box 40447 Post Office Box 2042 San Francisco, California 94140 Santa Fe, New Mexico 87504-2042 Tel: (415) 626-2677 Fax: (415) 552-4160 Tel: (505) 982-1028 Fax: (505) 982-3256 E-mail: [email protected] E-mail: [email protected] Association of International Photography Art Dealers Antiquarian Booksellers’Association of America Private Art Dealers Association International League of Antiquarian Booksellers 90. TERMS The books are offered subject to prior sale. Customers will be billed for shipping and insurance at cost. Payment is by check, wire transfer, or bank draft. Institutions will be billed to suit their needs. Overseas orders will be sent by air service, insured. Payment from abroad may be made with a check drawn on a U. S. bank, international money order, or direct deposit to our bank account. Items may be returned within 5 days of receipt, provided prior notification has been given. Material must be returned to us in the same manner as it was sent and received by us in the same condition. Inquiries may be addressed to either Paul Hertzmann, Inc. or Margolis & Moss Front cover and title page illustrations: Book no. 82. 2 introduction his catalog, a collaborative effort by Paul M. Hertzmann, Inc., and Margolis & Moss, T reflects our shared passion for the printed word and the photographic -
Century British Photography and the Case of Walter Benington by Robert William Crow
Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. -
“He Hath Mingled with the Ungodly”
―HE HATH MINGLED WITH THE UNGODLY‖: THE LIFE OF SIMEON SOLOMON AFTER 1873, WITH A SURVEY OF THE EXTANT WORKS CAROLYN CONROY TWO VOLUMES VOLUME I PH.D. THE UNIVERSITY OF YORK HISTORY OF ART DECEMBER 2009 2 ABSTRACT This thesis focuses on the life and work of the marginalized British Pre-Raphaelite and Aesthetic homosexual Jewish painter Simeon Solomon (1840-1905) after 1873.This year was fundamental in the artist‘s professional and personal life, because it is the year that he was arrested for attempted sodomy charges in London. The popular view that has been disseminated by the early historiography of Solomon, since before and after his death in 1905, has been to claim that, after this date, the artist led a life that was worthless, both personally and artistically. It has also asserted that this situation was self-inflicted, and that, despite the consistent efforts of his family and friends to return him to the conventions of Victorian middle-class life, he resisted, and that, this resistant was evidence of his ‗deviancy‘. Indeed, for over sixty years, the overall effect of this early historiography has been to defame the character of Solomon and reduce his importance within the Aesthetic movement and the second wave of Pre-Raphaelitism. It has also had the effect of relegating the work that he produced after 1873 to either virtual obscurity or critical censure. In fact, it is only recently that a revival of interest in the artist has gained momentum, although the latter part of his life from 1873 has still remained under- researched and unrecorded. -
Realismus – Impressionismus – Symbolismus
Realismus – Impressionismus – Symbolismus Wintersemester 2018/2019 9. Vorlesung 24.01.2019 •Barringer, Timothy J. [Hrsg.]: Pre-Raphaelites. Victorian Avant-Garde, London 2012. •Hönnighausen, Gisela [Hrsg.]: Die Präraffaeliten. Dichtung, Malerei, Ästhetik, Rezeption. Stuttgart 2000. •Kemp, Wolfgang: John Ruskin. Leben und Werk, München [u.a.] 1993. •Waggoner, Diane: The Pre-Raphaelite lens. British photography and painting, 1848 – 1875, Washington 2010. Presenting the female body: Challenging a Victorian fantasy John William Waterhouse, Hylas and the Nymphs, 1896, Manchester „Our removal of Waterhouse’s naked nymphs painting ‘Members of the public have stuck Post-it notes on the wall giving was art in action“ – Sonia Boyce their reaction.’ Photograph: Manchester Art Gallery Triumphe der Kunst über die Realität? Edward Burne-Jones, left, with William Morris at the Grange, Ramsgate, in 1874. Photograph: National Portrait Gallery London Laus Veneris (In Praise of Venus) by Sir Edward Coley Burne- Jones, Bt ARA. 1873-75. Oil on canvas, 47 x 71 inches. The Laing Art Gallery, Newcastle-upon- Tyne. Study for Laus, Veneris, Sir Edward Variant Study for Head of the Queen Coley Burne-Jones, Bt ARA (1833- in Laus Veneris - Sir Edward Burne- 1898), Pencil,8 1/4 x 6 1/2 inches Jones St. Cecilia window by Sir Edward Burne-Jones in Second Presbyterian Church, Chicago, IL, installed 1903. Sir Edward Coley Burne-Jones, Bt 1833–1898, King Cophetua and the Beggar Maid, Oil paint on canvas, 293,4 x 135,9 cm, London: Tate Gallery Edward Burne-Jones (1833–1898), Georgiana Burne-Jones, their children Margaret and Philip in the background, 1883, oil on canvas, 76 x53 cm, Source: Sotheby's Edward Burne-Jones (1833–1898), Phyllis and Demophoon, 1870, Bodycolour and watercolour with gold medium and gum arabic on composit layers of paper on canvas, 93,8 x 47, 5 cm, Birmingham Museum and Art Gallery. -
NGA | Pre-Raphaelites: Victorian Art and Design, 1848-1900
National Gallery of Art Pre-Raphaelites Victorian Art and Design, 1848 – 1900 February 17 – May 19, 2013 4 Introduction 6 Origins 11 Literature and History 17 Nature 22 Salvation 29 Beauty 35 Paradise 42 Mythologies 49 Biographies Pre-Raphaelites Introduction Queen Victoria had been on the throne for little more than a decade when seven fervent young men formed a secret society in London in 1848 with the aim of rejuvenating the arts in industrial-age Britain. Bonding over their mutual passion for medieval art and disdain for contemporary painting practices, they called their group the Pre- Raphaelite Brotherhood (PRB) in acknowledgment of their admiration of art prior to Raphael (1483 – 1520). The three most talented members were John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt — ages nineteen, twenty, and twenty-one, respectively. Along with other artists in their circle, most significantly their men- tor Ford Madox Brown, they sowed the seeds of a self-consciously avant-garde movement, one whose ideals they published in a short-lived journal, The Germ. Pre-Raphaelite paintings often addressed subjects of moral seriousness, whether pertaining to history, literature, religion, or modern society. While the artists emulated the pure colors, spatial flatness, and linear draftsmanship of late Gothic and early Renaissance art, their unconventional style — with its hyperrealism and brilliant palette — looked shocking to the public when their first paintings were exhibited in 1849. As an official group, the Pre-Raphaelites stayed together for only five years. But a second generation of artists, centered on Rossetti and led by Edward Burne-Jones and William Morris, arose in the 1860s with the aim of cultivating beauty in everyday life. -
Translating Heaney: a Study of Sweeney Astray, the Cure at Troy, and Beowulf
Translating Heaney: A Study of Sweeney Astray, The Cure at Troy, and Beowulf A thesis submitted in fulfilment of the requirements for the degree of Master of Arts at Rhodes University Peter William van der Woude January 2007 Abstract This thesis examines Seamus Heaney’s approach to translation with specific reference to Sweeney Astray, The Cure at Troy, and Beowulf. An assessment of Heaney’s translations, and the ways in which they relate to his poetry, is essential to an understanding of his work as a poet. This thesis demonstrates the centrality of translation to Heaney’s oeuvre as an effective means to comment on his Northern Irish socio-political context without producing political propaganda. Translation is a valuable means for Heaney to elucidate his contemporary experience by considering it in terms of the recorded past captured within his chosen translations. Instead of comparing the three translations with their original texts, this thesis concentrates on Heaney’s translations as a continuation of his own creative work and as catalysts for further poetry. The translations are explored in chronological order to allow a sense of Heaney’s development as a translator and his efforts to remain critically attuned to the Northern Irish political situation. The first chapter examines Heaney’s translation of the Gaelic poem Buile Suibhne, which is published as Sweeney Astray. In this first major act of translation Heaney recognises the political role that translation is able to play. He draws attention to the protagonist’s sense of cultural ease in both Britain and Ireland, which he argues is exemplary for the people of Ulster and renders the narrative particularly accessible to a Northern Irish readership due to his anglicisation of the text, which is intended as a reminder to both Catholics and Protestants of their shared identity as Irishmen. -
Do Inventors Talk to Strangers? on Proximity and Collaborative Knowledge Creation
Research Policy 45 (2016) 177–194 Contents lists available at ScienceDirect Research Policy jo urnal homepage: www.elsevier.com/locate/respol Do inventors talk to strangers? On proximity and collaborative knowledge creation a,b,∗ b,c a,b Riccardo Crescenzi , Max Nathan , Andrés Rodríguez-Pose a Department of Geography & Environment, London School of Economics, United Kingdom b SERC, London School of Economics, United Kingdom c Birmingham Business School, University of Birmingham, United Kingdom a r t i c l e i n f o a b s t r a c t Article history: This paper examines the characteristics of the collaborations between inventors in the United King- Received 26 October 2013 dom (UK) by looking at what types of proximities – geographic, organisational, cognitive, social, and Received in revised form 15 July 2015 cultural–ethnic – between inventors are prevalent in partnerships that ultimately lead to technological Accepted 16 July 2015 progress. Using a new panel of UK inventors this paper provides an analysis of associations between these ‘proximities’ and co-patenting. The results show that while collaboration within firms, research JEL classification: centres and universities remains crucial, external networks of inventors are key feature of innovation O31 teams. The analysis shows that external networks are highly dependent on previous social connections, O33 R11 but are generally unconstrained by cultural or cognitive factors. Geographical proximity is also weakly R23 linked with external networks. Our results suggest that innovation policies should, rather than focus on spatial clustering, facilitate the formation of open and diverse networks of inventors. Keywords: © 2015 The Authors. Published by Elsevier B.V. -
The Ordnance Survey Name Books: a 'Treasure-Trove' for Toponymists
\ Williamson, E. (2021) The Ordnance Survey Name Books: a 'treasure-trove' for toponymists. Scottish Archives, 25/26, pp. 42-55. The material cannot be used for any other purpose without further permission of the publisher and is for private use only. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/225720/ Deposited on 26 October 2020 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk The Ordnance Survey Name Books: ‘a treasure trove’ for toponymists In December 2013 and January 2014 an exhibition on the Ordnance Survey Name Books was held in the National Records of Scotland (hereafter NRS) at Register House in Edinburgh. This was specifically timed to celebrate the launch of the online resource of the Scottish name books on the ScotlandsPlaces website.1 The ‘treasure trove’ quotation in the title for this paper comes from press releases at the time. Simon Taylor, renowned Scottish toponymist, is reported as saying: ‘The books are a unique resource for understanding the evolution of Scotland’s complex place-nomenclature, as well as nineteenth-century perceptions of place, language, environment, archaeology and culture. ScotlandsPlaces, by making them so widely and easily accessible, has opened up a treasure-trove of material for local and national historians, both lay and academic.’2 Tim Ellis, the then chief executive of the NRS, also used the ‘treasure trove’ -
WRAP THESIS Kenward 2011.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/51462 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. ‘Memory Wrapped Round a Corpse’ A Cultural History of English Hecubas By Claire Kenward A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature. University of Warwick Department of English and Comparative Literary Studies June 2011 2 CONTENTS List of Illustrations 4 Acknowledgements 5 Declaration 6 Thesis Abstract 7 Prefatory Note 8 Prologue: Introduction and Methodology 9 1. Songs of Rage 9 2. Time and History 20 Chapter One: Enter Hecuba 41 1. ‘The Queen of Knives’ 41 2. ‘The News that Stays News’ 63 3. The Thrice Mobled Queen 96 Chapter Two: ‘What’s Hecuba?’ 104 1. ‘Empty Dreams, Empty Words. All Rots into Nothing’ 107 2. ‘The Mother Bird at her Plundered Nest’ 125 Chapter Three: Memory by Other Means 140 1. Matres Dolorosae 140 2. ‘Mirror upon Mirror, Mirrored is all the Show’ 142 3. Our Lady of Sorrows 164 Chapter Four: Early English Hecubas 179 1. A Tale of Two Troys 181 2. Hecuba, ‘as myne Auctor recordeth eke also’ 195 3. Hecuba, in ‘Oure Englissh Tonge’ 212 3 Chapter Five: Hecuba, Humanism and Hauntings - Part One 224 1.