Defining Landscape Painting in Nineteenth-Century American Critical Discourse. Or, Should Art ‘Deal in Wares the Age Has Need of’?

2006 ◽  
Vol 29 (2) ◽  
pp. 227-245 ◽  
Author(s):  
Karen L. Georgi
Keyword(s):  
Nineteenth Century ◽  
Critical Discourse ◽  
Landscape Painting

Revisiting the relationship between art and industry in nineteenth-century Britain from the manufacturer’s perspective

2021 ◽  
Vol 30 (1) ◽  
pp. 31-52
Author(s):  
Ann Compton
Keyword(s):  
Nineteenth Century ◽  
Industrial Sector ◽  
Critical Discourse ◽  
Drawing Board ◽  
Public Exposure ◽  
Production Practices ◽  
The Aesthetic ◽  
The Relationship ◽  
Two Sectors

The mid-nineteenth century critical discourse compartmentalized art and industry by crediting each with specific powers. Manufacturing was identified with the development of technologically advanced processes, materials and products, while fine artists were given authority over the aesthetic aspects of industrial design. The idea that the two sectors had separate areas of responsibility has proved extremely enduring, and continues to influence our perceptions of Victorian manufacturing. This article contributes to the wider task of re-evaluating the relationship between art and industry in nineteenth-century Britain by examining the role of design in potteries and art metalworking firms from the manufacturer’s perspective. It shows that contrary to the picture painted by Victorian critics, design was central to the ambitions and commercial operations of manufacturing businesses. Crucially, decisions about the recruitment of design staff were shaped by the close connection between the creation of new products at the drawing board, and their fabrication in the workshop. Since each branch of manufacturing had its distinctive characteristics, there were significant practical, aesthetic and commercial advantages for manufacturers in employing experienced designers who knew the trade, and were fully conversant with production practices. Unless a professional sculptor joined a firm, they were unlikely to have this inside knowledge, which made commissioning one-off designs from artists a riskier proposition. Manufacturers found that one of the best ways to get around this was to make reductions of sculptures, and initial demand for statuettes in Parian suggested they would be profitable for all concerned. In the end, the market did not live up to its early promise, but the publicity given to Parian statuettes compensated manufacturers and sculptors. Overall, it was this increased public exposure for art manufactures that was the prime benefit of the mid-nineteenth century critical discourse for the industrial sector.

scholarly journals Seeing the History of the Earth in the Cliffs at Møn: The Interaction between Landscape Painting and Geology in Denmark in the First Half of the 19th Century

Romantik ◽  
2013 ◽  
Vol 2 (1) ◽  
pp. 77 ◽  
Author(s):  
Gry Hedin
Keyword(s):  
Nineteenth Century ◽  
19Th Century ◽  
Landscape Painting ◽  
The Earth ◽  
Man And Nature ◽  
History Of ◽  
The 19Th Century ◽  
The Relationship ◽  
Scientific Advances ◽  
The Way

During the first part of the nineteenth century, geologists developed a history of the earth so different from that accepted in previous centuries that it encouraged a rethinking of the relationship between man and nature. In this article I will argue that painters followed these changes closely and that some of them let the narratives and images of geology inform the way they depicted nature. In arguing my point, I will focus on images and descriptions of the chalk cliffs on the Danish island of Møn by both geologists and painters. I will follow the scientific advances in geology by referring to the texts and images of Søren Abildgaard, Henrich Steffens, Johan Georg Forchhammer, and Christopher Puggaard, and discuss how their changing theories correspond with paintings of the cliffs by four artists: Christopher Wilhelm Eckersberg, Frederik Sødring, Louis Gurlitt, and Peter Christian Skovgaard.

scholarly journals Ghost Writers: Radcliffiana and the Russian Gothic Wave

2021 ◽  
Vol 3 (2) ◽  
pp. 152-171
Author(s):  
Katherine Bowers
Keyword(s):  
Nineteenth Century ◽  
Literary History ◽  
Russian Translation ◽  
Critical Discourse ◽  
Book Market ◽  
Early Nineteenth Century ◽  
Russian Literary ◽  
Anglophone World ◽  
Insight Into

Ann Radcliffe’s novels were extremely popular in early nineteenth-century Russia. Publication of her work in Russian translation propelled the so-called gothic wave of 1800-10. Yet, many of the works Radcliffe was known for in Russia were not written by her; rather, they were works by others that were attributed to Radcliffe. This article traces the publication and translation histories of Radcliffiana on the Russian book market of 1800-20. Building on JoEllen DeLucia’s concept of a “corporate Radcliffe” in the anglophone world, this article proposes a Russian corporate Radcliffe. Identifying, classifying, and analysing the provenance of Russian corporate Radcliffe works reveals insight into the transnational circulation of texts and the role of copyright law within it, the nature of the early nineteenth-century Russian book market, the rise of popular reading and advertising in Russia, and the gendered nature of critical discourse at this time. The Russian corporate Radcliffe assures the legacy and influence of Radcliffe in later Russian literature and culture, although a Radcliffe that represents much more than just the English author. Exploring the Russian corporate Radcliffe expands our understanding of early nineteenth-century Russian literary history through specific case studies that demonstrate the significant role played by both women writers and translation, an aspect of this history that is often overlooked.

Fiction and Poetry

2020 ◽  
pp. 144-168
Author(s):  
Michael Halliwell
Keyword(s):  
Nineteenth Century ◽  
Art Song ◽  
Music Performance ◽  
Critical Discourse ◽  
Significant Feature ◽  
Turn On ◽  
Music Making ◽  
Late Eighteenth ◽  
Professional Evaluation ◽  
Eighteenth And Nineteenth Centuries

The rise of the European novel reached its zenith during the nineteenth century. One can hardly turn on the TV without seeing an adaptation of a novel from this period in a classically sumptuous BBC-TV production. The depiction of music-making in a variety of forms is a significant feature of many of the works of literature and poetry of the period, as the professional evaluation of music performance became part of a broader critical discourse. Poetry found an ever-growing mode of dissemination through the commercial performance of the art song—the work of many, mostly forgotten poets of the late eighteenth and nineteenth centuries lives on in the German Lied, the French mélodie and the English art song.

scholarly journals Countryside Borderscapes in Finland

2021 ◽  
Vol 21 (6) ◽  
pp. 27-37
Author(s):  
Carlos Idrobo
Keyword(s):  
Nineteenth Century ◽  
Golden Age ◽  
Final Section ◽  
Cultural Practices ◽  
Rural Landscape ◽  
Previous Article ◽  
Landscape Painting ◽  
The Third ◽  
Phenomenological Perspective ◽  
Made In

This article focuses on a particular kind of fence (riukuaita) that visually fragmented the nineteenth-century rural landscape in Finland and deeply affected everyday mobility in the countryside. Expanding on observations made in a previous article, the first section situates earlier depictions of the Finnish countryside within the broader confrontation between classic and romantic landscape painting and presents the idea of a countryside transformed into a borderscape of sorts. The second section examines the cultural practices within the Alderman institution that sustained and administrated these borders and divisions. The third and final section explores how artists of the so-called Golden Age of Finnish Art depicted these bordescapes, and how it might affect the way we read and experience landscape paintings, especially when considered from the phenomenological perspective of actual and imaginary walking into the depicted scene.

Battle ground: Environmental determinism and the politics of painting the Iraqi landscape

2021 ◽  
Vol 15 (1-2) ◽  
pp. 41-65
Author(s):  
Sarah Johnson
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
American Art ◽  
Landscape Painting ◽  
Environmental Determinism ◽  
Early Twentieth Century ◽  
The Way

Beginning in the late 1940s, Iraqi artists began writing critiques of the Euro-American art movement impressionism, claiming that the way the movement framed the environment was not suited to the Iraqi landscape. Embedded in this argument was the notion that Iraqis could not paint European-style landscapes because of the fact that their environment was different from that of Europe. At the same time, paintings of the Iraqi landscape by European artists in the early twentieth century reinforced the idea that the Iraqi landscape was other than the European one because of its bright sun and empty desert, concepts familiar from nineteenth-century Orientalist discourse. This article will trace the way European painters’ representations of Iraq as other ultimately contributed to Iraqi painters seeking out a distinctive form of European landscape painting in the 1940s.

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