William Rossetti's Art Criticism: The Search for Truth in Victorian Art, and: Victorian Painting, and: After the Pre-Raphaelites: Art and Aestheticism in Victorian England (review)

2001 ◽  
Vol 43 (3) ◽  
pp. 480-484
Author(s):  
Susan P. Casteras
Keyword(s):  
Art Criticism ◽  
Victorian England ◽  
Victorian Art ◽  
Pre Raphaelites ◽  
Victorian Painting

Victorian Art History

1998 ◽  
Vol 26 (1) ◽  
pp. 207-219
Author(s):  
Joseph A. Kestner
Keyword(s):  
Art History ◽  
Victorian Literature ◽  
Monographs And Collections ◽  
Victorian Art ◽  
Pre Raphaelites ◽  
The Impact ◽  
National Gallery Of Art ◽  
Victorian Painting ◽  
Victorian Literature And Culture ◽  
Point Of Departure

There has been an intriguing range of material published concerning Victorian painting since Victorian Literature and Culture last offered an assessment of the field. These books, including exhibition catalogues, monographs, and collections of essays, represent new and important sources for research in Victorian art and its cultural contexts. Most striking of all during this interval has been the range of exhibitions, from focus on the Pre-Raphaelites to major installations of such Victorian High Olympians/High Renaissance painters as Frederic, Lord Leighton and Sir Lawrence Alma-Tadema. Included as well have been exhibitions with a particular focus, such as that on the Grosvenor Gallery, and the more broadly inclusive The Victorians held at the National Gallery of Art in Washington D.C., this last being the most appropriate point of departure to assess the impact of Victorian art on the viewing public in the States.

Dirty Pictures: John Ruskin, Modern Painters, and the Victorian Sanitation of Fine Art

2002 ◽  
Vol 78 (1) ◽  
pp. 116-139
Author(s):  
Eileen Cleere
Keyword(s):  
Nineteenth Century ◽  
John Ruskin ◽  
Public Controversy ◽  
Interdisciplinary Work ◽  
Sanitary Condition ◽  
Victorian Art ◽  
Social Discourses ◽  
Pre Raphaelites ◽  
The Aesthetic ◽  
Trafalgar Square

WHILE MY PROJECT IS BROADLY INTERESTED in the interdisciplinary work of what I will call sanitary art in nineteenth-century Britain, this essay is primarily concerned with a watershed moment in the production of that interdisciplinarity. In 1842, Edwin Chadwick published his Report on the Sanitary Condition of the Labouring Population; the following year, John Ruskin published the first volume of Modern Painters. Incomparable in subject, genre, and style, these texts would nonetheless participate in the same cultural project, producing between them a discourse of ''dirty'' art that challenged and eventually redefined nineteenth-century aesthetic standards. This essay argues that Ruskin employed the discourse and ideological necessity of sanitary reform from his earliest work, enforcing through his celebration of modern painters an aesthetic preference for the bright, clean colors of J.M.W. Turner and the Pre-Raphaelites over the pestilential tones and dark obscurity of the Renaissance Old Masters. Moreover, Ruskin's sophisticated preferences were circulated and popularized by a cultural event more generally accessible than Modern Painters. Isolating a mid-Victorian moment when the agitation for urban cleanliness began to dominate a variety of social discourses, this essay will also argue that Chadwick's powerful sanitary idea was channeled through a public controversy in the mid-forties about the aesthetic status of ''picture cleaning'' in the National Gallery at Trafalgar Square. When the dust from this debate finally settled, it was swept away along with the dirty aesthetic theories that had accumulated over previous centuries. Left in its place was the thesis of Modern Painters, and a new standard of aesthetic hygiene for Victorian art.

Review: Victorian Art Criticism and the Woman Writer

2014 ◽  
Vol 69 (3) ◽  
pp. 397-401
Author(s):  
Dehn Gilmore
Keyword(s):  
Art Criticism ◽  
Woman Writer ◽  
Victorian Art

VICTORIAN ART HISTORY: RAP 2 UNWRAPPED

2001 ◽  
Vol 29 (1) ◽  
pp. 149-158
Author(s):  
Joseph A. Kestner
Keyword(s):  
Twentieth Century ◽  
Mass Media ◽  
Art History ◽  
Fin De Siecle ◽  
British Art ◽  
Victorian Art ◽  
Fin De Siècle ◽  
Victorian Painting ◽  
Media Event

AT THE END OF THE TWENTIETH CENTURY, Victorian painting experienced at least one mass media event, so far as circulation is concerned — the appearance of Frederic Leighton’s The Bath of Psyche (1890) on the wall of the drug kingpin in Paul Thomas Anderson’s notorious film Boogie Nights of 1997. As a ferocious deal is going awry, over the desperate dealers looms one of the masterpieces of the Victorian High Renaissance, a commentary through the cool classicism of the late Victorians about the corresponding fin-de-siècle of the lately finished century. It is a stunning moment — perhaps recognized only by historians of British art — but there it is nonetheless. One is to presume that the dealer has acquired the original from the Tate Gallery, since he would never own a copy, let alone a poster! Busboy superstud Mark Wahlberg has brief, violent contact with a masterpiece.

scholarly journals Victorian Art Criticism and the Woman Writer

2020 ◽  
Author(s):  
John Paul M. Kanwit
Keyword(s):  
Art Criticism ◽  
Woman Writer ◽  
Victorian Art
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