Review of "Art versus Industry? New Perspectives on Visual and Industrial Cultures in Nineteenth-Century Britain" from Art Bulletin (original) (raw)
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Writing About Art in Britain Before and After 1900. Martina Droth and Peter Trippi, eds. 2015
Nineteenth-Century Art Worldwide, 2015
Special issue of Nineteenth-Century Art Worldwide. With essays by Julie Codell, Jason Edwards, Sarah V. Turner, Adrianne Rubin, Dana Garvey, Imogen Hart, Colette Crossman, Lene Østermark-Johansen, Jane Hawkes, Anthony Burton, and Amy Von Lintel
Introduction. The Transformative Power of the Arts in Victorian and Edwardian Culture and Society
2019
In the Victorian era the British industry thrived and new technologies developed. As railway lines extended their network, they found their way into William Turner’s oil painting Rain, Steam and Speed – The Great Western Railway (1844), Anthony Trollope’s novel, The Way We Live Now (1875) or Charles Dickens’s short story ‘The Signalman’ (1866); the steam thresher contaminated Thomas Hardy’s pastoral world in Tess of the d’Urbervilles (1891) just as in Edwardian times, industrially produced wa...
Looking back to the future : essays on art, life and death
2001
imperialist project of 'texting, textualising, a making into art, a making into an object to be understood' (quoted p. 77), provides Cherry with a means of interpreting the contradictory position of feminist radicals, who maintained an effortless superiority to Arab women in Algeria while simultaneously planning their campaigns on behalf of Englishwomen in London. This comes as a timely reminder that, then as now, feminists do not occupy consistent positions and that feminist and imperialist politics may sometimes form disturbing alliances. This is a compelling book that wears its scholarship lightly and makes a major addition to the rich feminist literature on the gender, visual culture and urban spectacle in the 19th century London (Nead, 1988, 2000; Walkowitz, 1992). I have two minor caveats, both of which hinge on the misleading nature of the title: this is not an account of feminism and visual culture in Britain, but rather in Londonthe emergence of feminist cultures in the provinces and in Scotland are mentioned only in passing in the final chapter-and while she touches on the figure of the 'New Woman' of the 1890s, it is evident that Cherry's real passion and research lies in the 1850s and 1860s, decades of the emergence and formation of the new subjects and visual cultures of feminism.
Journal of Interdisciplinary History, 2009
Page 1. Sensing the Past: Seeing, Hearing, Smelling, Tasting and Touching in History. By Mark M. Smith (Berkeley, University of California Press, 2007) 180 pp. 55.00cloth55.00 cloth 55.00cloth19.95 paper How do the senses shape human experience ...
Tradition is art history's eternal Other: it is that which must be overcome, resisted, thrown off or, if a compromise must be made, creatively appropriated. The history of the art of the nineteenth century, that "great" age of innovation, progress and revolution, is more than any other rooted in anti-traditionalist sentiment, steeped in a rhetoric that privileges innovation and bound to narrative structures geared against artistic tradition. Modernist and other teleological histories of nineteenth-century art have always emphasised change and novelty. But even revisionist accounts of the art of the nineteenth century leave scarcely any room to consider tradition in its own right. These have generally either sung the aesthetic praises of traditional art without much further reflection, or have discussed academic art as innovative in another way, either within a traditional framework or in the sense that the art under consideration points forward to developments other than those associated with formal modernism. This rejection of artistic tradition may be due to its use in fascist and totalitarian ideologies, but is also the result of a structuralist approach within the discipline of art history that continuously opposes new