From the Pre-Raphaelites to the Arts and Crafts Movement Prepared by Traci Timmons, Senior Librarian

Total Page:16

File Type:pdf, Size:1020Kb

From the Pre-Raphaelites to the Arts and Crafts Movement Prepared by Traci Timmons, Senior Librarian Bibliography for Victorian Radicals: From the Pre-Raphaelites to the Arts and Crafts Movement Prepared by Traci Timmons, Senior Librarian 1. The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain, 1860-1910. Wilton, Andrew, Robert Upstone, and Barbara Bryant. Paris: Flammarion, 1997. ND 467 W55. 2. Anarchy & Beauty: William Morris and His Legacy, 1860-1960. MacCarthy, Fiona. New Haven, CT: Yale University Press, 2014. NK 1142 M67 M23 2014. 3. Art for Art's Sake: Aestheticism in Victorian Painting. Pretejohn, Elizabeth. New Haven: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 2007. ND 467.5 V52 P74 2007. 4. The Arthurian Revival in Victorian Art. Mancoff, Debra N. New York [etc.]: Garland, 1990. N 6767 M32 A78 1990. 5. Artists' Jewellery: Pre-Raphaelite to Arts and Crafts. Gere, Charlotte, and Geoffrey C. Munn. Woodbridge: Antique Collectors' Club, 1989. NK 7306 G37 A78 1989. 6. The Arts & Crafts Movement in Europe & America Design for the Modern World. Kaplan, Wendy. London: Thames & Hudson, 2005. NK 1140 L5. 7. Arts & Crafts Stained Glass. Cormack, Peter. New Haven: Yale University Press, 2015. NK 5309.8 C67 A78 2015. 8. Burne-Jones: The Life and Works of Sir Edward Burne-Jones (1833-1898). Wood, Christopher, and Edward Coley Burne-Jones. New York: Stewart, Tabori & Chang, 1998. ND 497 B8 W66 1998. 9. The Cambridge Companion to the Pre-Raphaelites. Prettejohn, Elizabeth. Cambridge, UK: Cambridge University Press, 2013. N 6767.5 P7 C36 2012. 10. The Cult of Beauty: The Victorian Avant-Garde 1860-1900. Calloway, Stephen, Lynn Federle Orr, and Esmé Whittaker. London, England: V & A Publishing, 2011. N 6465 A4 C85. 11. Damozels & Deities: Edward Burne-Jones, Henry Holiday & Pre-Raphaelite Stained Glass 1870- 1898. Waters, Bill, and Alastair Carew-Cox. Abbots Morton, Worcester, England: Seraphim Press Ltd, 2017. NK 5398 B87 W28 2017. 12. Dante Gabriel Rossetti. Faxon, Alicia Craig. New York: Abbeville Press Publishers, 1989. ND 497 R67 F29. 13. Ford Madox Brown: Pre-Raphaelite Pioneer. Treuherz, Julian, Kenneth Bendiner, Angela Thirlwell, and Ford Madox Brown. London: Philip Wilson Publishers in association with Manchester Art Gallery, 2011. ND 497 B794 T73 2011. 14. Jane Morris: The Pre-Raphaelite Model of Beauty. Mancoff, Debra N. San Francisco: Pomegranate, 2000. ND 467.5 P7 M36 2000. 15. John Everett Millais. Rosenfeld, Jason. London: Phaidon Press, 2012. ND 497 M55 R67 2012. 16. Last Pre-Raphaelite: Edward Burne-Jones and the Victorian Imagination. MacCarthy, Fiona. [London]: Faber, 2012. ND 497 B8 M23 2011. 17. Liberating Fashion: Aesthetic Dress in Victorian Portraits. Addison, Rhian, Hilary Underwood, and Elizabeth Prettejohn. Guildford, Surrey: Watts Gallery, 2015. GT 737 A33 L42 2015. 18. Morris & Company in Cambridge: Catalogue. Robinson, Duncan, and Stephen Wildman. Cambridge: Cambridge University Press, 1980. NK 1142 F5. 19. Nineteenth Century Fashion in Detail. Johnston, Lucy, Marion Kite, Helen Persson, Richard Davis, and Leonie Davis. New York: V & A Publishing, 2009. GT 595 J64 N46 2009. 20. Pocket Cathedrals: Pre-Raphaelite Book Illustration. Casteras, Susan P., and Joel M. Hoffman. New Haven: Yale Center for British Art, 1991. NC 978 C2. 21. Pre-Raphaelite Art in Its European Context. Casteras, Susan P., and Alicia Craig Faxon. Madison: Fairleigh Dickinson University Press, 1995. N 6767.5 P7 C27. 22. Pre-Raphaelite Drawings in the British Museum. Gere, J.A. London: British Museum Press, 1994. NC 228 G47 23. The Pre-Raphaelite Lens: British Photography and Painting, 1848-1875. Waggoner, Diane, and Timothy John Barringer. Washington: National Gallery of Art, 2010. N 6767.5 P7 W34. 24. Pre-Raphaelite Vision: Truth to Nature. Staley, Allen, Christopher Newall, Alison Smith, and Ian Warrell. London: Tate, 2004. N 6767.5 P7 S73 2004. 25. Pre-Raphaelite Women Artists. Marsh, Jan, and Pamela Gerrish Nunn. Manchester: Manchester City Art Galleries, 1997. N 6767.5 P7 M385 1997. 26. Pre-Raphaelite Women: Images of Femininity in Pre-Raphaelite Art. Marsh, Jan. London: Phoenix Illustrated, 1998. N 6767.5.P7 M27 1987. 27. Pre-Raphaelites: Victorian Art and Design. Barringer, Tim, Jason Rosenfeld, and Alison Smith. New Haven: Yale University Press, 2013. N 6767.5 P7 B37 2013. 28. The Pre-Raphaelites. Parris, Leslie. London: Tate Gallery Publications, 1984. N 6767.5 P7 P27. 29. Pugin: A Gothic Passion. Atterbury, Paul et al. New Haven: Yale University Press in association with the Victoria & Albert Museum, 1994. NA 997 P9 A77. 30. Sir Edwin Landseer. Landseer, Edwin Henry, and Richard Ormond. Philadelphia: Philadelphia Museum of Art, 1981. ND 497 L3 P5. 31. Textiles of the Arts and Crafts Movement. Parry, Linda. London: Thames and Hudson, 1988. NK 1142 P27. 32. Truth & Beauty: The Pre-Raphaelites and the Old Masters. Buron, Melissa E., et al. Munich: DelMonico Books-Prestel, 2018. N 6767.5 P7 T78 2018. 33. Victorian and Edwardian Decor: From the Gothic Revival to Art Nouveau. Cooper, Jeremy. New York: Abbeville Press, 1987. NK 2043 C6. 34. The Victorian House: Domestic Life from Childbirth to Deathbed. Flanders, Judith. London: Harper Perennial, 2004. DA 530 F52 V43 2004. 35. Victorian Radicals: From the Pre-Raphaelites to the Arts & Crafts Movement. Ellis, Martín, Victoria Osborne, Timothy John Barringer and Birmingham Museum of Art. New York: American Federation of Arts; Munich; New York: DelMonico Books-Prestel, 2018. N 6767.5 P7 B57 2018. 36. Visions of Love and Life: Pre-Raphaelite Art from the Birmingham Collection, England. Wildman, Stephen, John Christian, and Jan Marsh. Alexandria, VA: Art Services International, 1995. N 6767.5 P7 W55. 37. William De Morgan Tiles. Catleugh, Jon, Elizabeth Aslin, and Alan Caiger-Smith. London: Trefoil, 1983. NK 4670.7 G7 D46 1983. 38. William Morris: A Life for Our Time. MacCarthy, Fiona. London: Faber, 2010. NK 1142 M67 M23 2010. 39. William Morris and the Arts & Crafts Home. Todd, Pamela. London: Thames & Hudson, 2014. NK 1142 M67 T63. 40. William Morris Textiles. Parry, Linda. New York: Viking Press, 1983. NK 8898 M6 P27. 41. Women Artists and the Pre-Raphaelite Movement. Marsh, Jan, and Pamela Gerrish Nunn. London: Virago, 1989. N 6767.5 P7 M27. .
Recommended publications
  • Annual Report 2018–2019 Artmuseum.Princeton.Edu
    Image Credits Kristina Giasi 3, 13–15, 20, 23–26, 28, 31–38, 40, 45, 48–50, 77–81, 83–86, 88, 90–95, 97, 99 Emile Askey Cover, 1, 2, 5–8, 39, 41, 42, 44, 60, 62, 63, 65–67, 72 Lauren Larsen 11, 16, 22 Alan Huo 17 Ans Narwaz 18, 19, 89 Intersection 21 Greg Heins 29 Jeffrey Evans4, 10, 43, 47, 51 (detail), 53–57, 59, 61, 69, 73, 75 Ralph Koch 52 Christopher Gardner 58 James Prinz Photography 76 Cara Bramson 82, 87 Laura Pedrick 96, 98 Bruce M. White 74 Martin Senn 71 2 Keith Haring, American, 1958–1990. Dog, 1983. Enamel paint on incised wood. The Schorr Family Collection / © The Keith Haring Foundation 4 Frank Stella, American, born 1936. Had Gadya: Front Cover, 1984. Hand-coloring and hand-cut collage with lithograph, linocut, and screenprint. Collection of Preston H. Haskell, Class of 1960 / © 2017 Frank Stella / Artists Rights Society (ARS), New York 12 Paul Wyse, Canadian, born United States, born 1970, after a photograph by Timothy Greenfield-Sanders, American, born 1952. Toni Morrison (aka Chloe Anthony Wofford), 2017. Oil on canvas. Princeton University / © Paul Wyse 43 Sally Mann, American, born 1951. Under Blueberry Hill, 1991. Gelatin silver print. Museum purchase, Philip F. Maritz, Class of 1983, Photography Acquisitions Fund 2016-46 / © Sally Mann, Courtesy of Gagosian Gallery © Helen Frankenthaler Foundation 9, 46, 68, 70 © Taiye Idahor 47 © Titus Kaphar 58 © The Estate of Diane Arbus LLC 59 © Jeff Whetstone 61 © Vesna Pavlovic´ 62 © David Hockney 64 © The Henry Moore Foundation / Artists Rights Society (ARS), New York 65 © Mary Lee Bendolph / Artist Rights Society (ARS), New York 67 © Susan Point 69 © 1973 Charles White Archive 71 © Zilia Sánchez 73 The paper is Opus 100 lb.
    [Show full text]
  • Introduction to Portraiture Through the Centuries
    • The aim of the course is look at nineteenth-century British art in new ways and so to dispel the myths. One of these myths is that France was the only country in the nineteenth century where artists innovated and another is that British art was wholly derivative from French art. These myths first arose in the early twentieth century because of the rapid changes that took place in Britain at the end of the Victorian period. The anti-Victorian rhetoric was fuelled by a small number of British commentators and art historians who valorised French art and criticized British art. I will show that Victorian art was lively, innovative and exciting and reflected the history and culture of the period. • Art reflects the social conventions and expectations of the period and in Britain’s rapidly changing industrial society there were many controversial innovations and styles. We shall see how Britain's lead in the industrial revolution and its growing population and wealth led to new markets for art. It also led both to a new confidence offset by a respect for the classical period and a nostalgia for an imagined romantic medieval period. The gradual emancipation of the poor, workers and woman was reflected in a number of art works of the period. • My background: a degree in art and architecture from Birkbeck College, followed by an MA from the Courtauld Institute where I specialised in nineteenth century art and a PhD from the University of Bristol. I have published various papers including parts of two books and I have spoken at conferences here and in the USA.
    [Show full text]
  • Literary Miscellany
    Literary Miscellany Including Recent Acquisitions. Catalogue 286 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.reeseco.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request.
    [Show full text]
  • A Field Awaits Its Next Audience
    Victorian Paintings from London's Royal Academy: ” J* ml . ■ A Field Awaits Its Next Audience Peter Trippi Editor, Fine Art Connoisseur Figure l William Powell Frith (1819-1909), The Private View of the Royal Academy, 1881. 1883, oil on canvas, 40% x 77 inches (102.9 x 195.6 cm). Private collection -15- ALTHOUGH AMERICANS' REGARD FOR 19TH CENTURY European art has never been higher, we remain relatively unfamiliar with the artworks produced for the academies that once dominated the scene. This is due partly to the 20th century ascent of modernist artists, who naturally dis­ couraged study of the academic system they had rejected, and partly to American museums deciding to warehouse and sell off their academic holdings after 1930. In these more even-handed times, when seemingly everything is collectible, our understanding of the 19th century art world will never be complete if we do not look carefully at the academic works prized most highly by it. Our collective awareness is growing slowly, primarily through closer study of Paris, which, as capital of the late 19th century art world, was ruled not by Manet or Monet, but by J.-L. Gerome and A.-W. Bouguereau, among other Figure 2 Frederic Leighton (1830-1896) Study for And the Sea Gave Up the Dead Which Were in It: Male Figure. 1877-82, black and white chalk on brown paper, 12% x 8% inches (32.1 x 22 cm) Leighton House Museum, London Figure 3 Frederic Leighton (1830-1896) Elisha Raising the Son of the Shunamite Woman 1881, oil on canvas, 33 x 54 inches (83.8 x 137 cm) Leighton House Museum, London -16- J ! , /' i - / .
    [Show full text]
  • The Royal Scottish Academy of Painting', Sculpture Nd
    -z CONTENTS Vo1ue One Contents page 2 Acknowledgements Abstract Abbreviations 7 Introduction 9 Chapter One: Beginnings: Education and Taste 14 Chapter Two: 'A little Artistic Society' 37 Chapter Three: 'External Nature or Imaginary Spirits' IL' Chapter Four: Spirits of the enaissance 124 Chapter Five: 'Books Beautiful or Sublime' 154 Chapter Six: 'Little Lyrics' 199 Chapter Seven: Commissions 237 Conclusion 275 Footnotes 260 Bibliography 313 Appendix: Summary Catalogue of Work by Phoebe Traquair Section A: Mural Decorations 322 Section : Painted Furniture; House, Garden and Church Decorations 323 Section C: Paintings, Drawings and Sculpture Section D: Designs for Mural and Furniture Decorations, Embroideries, Illuminated Manuscripts and Enamelwork 337 Section B: EmbroiderIes 3415 Section F: Enamels and Metalwork Section G: Manuscript Illuminations S-fl Section E: Published Designs for Book Covers and Illustrations L'L. Section J: Bookbindings 333 Volumes Two and Three Plates 3 ACKOWLEDGEXE!TS This thesis could not have been researched or written without the willing help of many people. My supervisors, Professor Glies Robertson, who first suggested that I turn my interest in Phoebe Traquair into a university dissertation, and Dr Duncan Macmillan have both been supportive and encouraging at all stages. Members of the Traquair and Moss families have provided warm hospitality and given generously of their time to provide access to their collections and to answer questions which must have seemed endless: in particular I am deeply indebted to the grandchildren of Phoebe Traquair, Ramsay Traquair, Mrs Margaret Anderson, and Mrs Margaret Bartholomew. Francis S Nobbs and his sister, Mrs Phoebe Hyde, Phcebe Traquair's godddaughter, have furnished me with copies of letters written to their father and helped on numerous matters, Without exception owners and.
    [Show full text]
  • The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
    Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages.
    [Show full text]
  • Dante Gabriel Rossetti and the Italian Renaissance: Envisioning Aesthetic Beauty and the Past Through Images of Women
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2010 DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN Carolyn Porter Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/113 This Dissertation is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Carolyn Elizabeth Porter 2010 All Rights Reserved “DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN” A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at Virginia Commonwealth University. by CAROLYN ELIZABETH PORTER Master of Arts, Virginia Commonwealth University, 2007 Bachelor of Arts, Furman University, 2004 Director: ERIC GARBERSON ASSOCIATE PROFESSOR, DEPARTMENT OF ART HISTORY Virginia Commonwealth University Richmond, Virginia August 2010 Acknowledgements I owe a huge debt of gratitude to many individuals and institutions that have helped this project along for many years. Without their generous support in the form of financial assistance, sound professional advice, and unyielding personal encouragement, completing my research would not have been possible. I have been fortunate to receive funding to undertake the years of work necessary for this project. Much of my assistance has come from Virginia Commonwealth University. I am thankful for several assistantships and travel funding from the Department of Art History, a travel grant from the School of the Arts, a Doctoral Assistantship from the School of Graduate Studies, and a Dissertation Writing Assistantship from the university.
    [Show full text]
  • Fanny Eaton: the 'Other' Pre-Raphaelite Model' Pre ~ R2.Phadite -Related Books , and Hope That These Will Be of Interest to You and Inspire You to Further Reading
    which will continue. I know that many members are avid readers of Fanny Eaton: The 'Other' Pre-Raphaelite Model' Pre ~ R2.phadite -related books , and hope that these will be of interest to you and inspire you to further reading. If you are interested in writing reviews Robeno C. Ferrad for us, please get in touch with me or Ka.tja. This issue has bee n delayed due to personal circumstances,so I must offer speciaJ thanks to Sophie Clarke for her help in editing and p roo f~read in g izzie Siddall. Jane Morris. Annie Mine r. Maria Zamhaco. to en'able me to catch up! Anyone who has studied the Pre-Raphaelite paintings of Dante. G abriel RosS(:tti, William Holman Hunt, and Edward Serena Trrrwhridge I) - Burne~Jonc.s kno\VS well the names of these women. They were the stunners who populated their paintings, exuding sensual imagery and Advertisement personalized symbolism that generated for them and their collectors an introspeClive idea l of Victorian fem ininity. But these stunners also appear in art history today thanks to fe mi nism and gender snldies. Sensational . Avoncroft Museu m of Historic Buildings and scholnrly explorations of the lives and representations of these Avoncroft .. near Bromsgrove is an award-winning ~' women-written mostly by women, from Lucinda H awksley to G riselda Museum muS(: um that spans 700 years of life in the Pollock- have become more common in Pre·Raphaelite studies.2 Indeed, West Midlands. It is England's first open ~ air one arguably now needs to know more about the.
    [Show full text]
  • 2017/18 Trinity Hall Review 2017/18 Trinity Hall CAMBRIDGE
    TRINITY HALL CAMBRIDGE Trinity Hall Review 2017/18 Academic Year 2017/18 Academic Year Trinity Hall Trinity A year in the Hall life community of the Trinity 2017/18 2017/18 2 Trinity Hall Reports from our Officers Welcome to the fifth edition of the Trinity Hall Review. We hope you enjoy reading about the year in College. A highlight for us was the Alumni Summer Party in July. We were delighted to welcome over 190 alumni and guests to a sunny Wychfield for a fun-filled day of activities and socialising. We hope everyone had as much fun as our cover star! During the year, we also launched the improved College website, received planning permission for a new music practice and performance space in Avery Court, and welcomed back several alumni for their weddings in College. Your generous donations continue to have a positive impact on the lives of students and the fabric of College; thank you for your continued support. Kathryn Greaves Alumni Communications Officer Stay in touch with the College network: 32 Alumni @TrinityHallCamb News inside Reports from our Officers 2 The Master 2 The Bursar 4 The Senior Tutor 6 The Graduate Tutor 8 The Admissions Tutor 10 The Dean 11 The Development Director 12 The Junior Bursar 14 The Head of Conference and Catering Services 15 The Librarian 16 The Director of Music 17 College News 18 The JCR President’s Report 20 The MCR President’s Report 21 Student Reports 22 News of Fellows and Staff 26 Seminars and Lectures 28 Fundraising 30 18 Alumni News 32 THA Secretary’s Report 34 College News Alumni News 36 In Memoriam 38 2017/18 Information 40 List of Fellows 42 College Statistics 46 List of Donors 50 Get involved 59 Thank you to all who have contributed to this edition of the Trinity Hall Review.
    [Show full text]
  • Hylas and the Matinée Girl: John William Waterhouse and the Female Gaze
    Hylas and the Matinée Girl: John William Waterhouse and the Female Gaze Jennifer Bates Ehlert British painter John William Waterhouse (1849-1917), One trend was the emergence of the female gaze during is best known for paintings of beguiling women, such as The the late nineteenth century, a gaze which is evident in paint- Lady of Shalott and La Belle Dame Sans Merci. Dedicated to the ings such as Hylas and the Nymphs, 1896, The Awakening power and vulnerability of the female form, he demonstrated of Adonis, 1900, and Echo and Narcissus, 1903 (see Figures the Victorian predilection for revering and fearing the feminine. 1 and 2). These paintings could be read as commentary on Often categorized as a Pre-Raphaelite or a Classical Academy the rise of the male figure as a spectacle and the impact of painter, Waterhouse was enamored of femme fatales and tragic the female gaze. Specifically, this paper correlates the actions damsels, earning him a reputation as a painter of women. and gaze of the nymphs in Hylas and the Nymphs to that Nonetheless, the men in Waterhouse’s art warrant scholarly of the matinée girl. Matinée girls, a late nineteenth-century attention and their time is due. Simon Goldhill’s article, “The social phenomena, discomfited theater audiences with their Art of Reception: J.W. Waterhouse and the Painting of Desire freedom and open admiration of actors. in Victorian Britain,” recognizes the significance of the male Although Waterhouse’s artworks have and do lend subject in Waterhouse’s oeuvre, writing, “His classical pictures themselves to discussions within the realm of queer gaze and in particular show a fascinating engagement with the position theory, it is purposefully avoided because the focus here is of the male subject of desire, which has been largely ignored in the rarely discussed female gaze.
    [Show full text]
  • Interiors in Victorian Painting
    Women as Vestals of the Domestic Hearth: Interiors in Victorian Painting Simone Neuhauser M.A., Institute of Art History, University of Bern Ph.D. project. Supervisors: Prof. Norberto Gramaccini and Prof. Horst Bredekamp. My dissertation project, “Constructions of the Feminine Interior”, examines representations of women in interior spaces of contemporary paintings in Victorian England. The role of women in their dissociation from both men and other women are the object of my research. I proceed on the assumption that the spaces surrounding women are representations of the inner self of the figure being represented. I intend to demonstrate that representations of women in paintings contain within them a brisance similar to the portrayals of women by literary figures in novels and poetry of the same time. Therefore I will look at writers such as Emily Brontë, Henry James and Tennyson’s Moxon edition, which itself links the written and visual world. In addition works by the painters John Everett Millais, William Holman Hunt and Elizabeth Siddal are examined. Painting and literature are thereby viewed in close connection and compared to one another using the reception theory. My dissertation will identify the various views of women with the aid of a social historical and psychoanalytical approach. Therefore studies such as those by art historians Elizabeth Prettejohn and Allan Staley will be touched upon. This theoretical view will be enhanced by studies of exhibitions, the latest being ‘The Cult of Beauty’ in London’s Victoria and Albert Museum in 2011. I wish to show that “space” serves as a canvas for gender roles.
    [Show full text]
  • “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.
    [Show full text]