scholarly journals Art in the service of agriculture: John Buchanan’s nature printing of ‘The Indigenous Grasses of New Zealand’

2016 ◽  
pp. 23-36
Author(s):  
Linda Tyler
Keyword(s):  
Nineteenth Century ◽  
New Zealand ◽  
Art History ◽  
Government Service ◽  
Science History ◽  
Scientific Illustration ◽  
Forage Plants ◽  
New Knowledge ◽  
Scientific Papers ◽  
Annual Publication

To disseminate new knowledge about scientific discoveries in New Zealand in the nineteenth century, draughtsmen were employed to convey the characteristics of a specimen using techniques of lithography, occasionally assisted by photography and microscopy. The Transactions and Proceedings of the New Zealand Institute was an annual publication of scientific papers presented by experts at the various provincial branches throughout the country, and was first published in Wellington in 1868 and issued in 1869.1 Until his retirement from government service in 1885, it was primarily illustrated by John Buchanan (1819-1898). This paper aims to give a broader understanding of Buchanan’s significance for both New Zealand’s science history and its art history by considering his relationship to the emergent techniques of photography and lithography. His isolated use of nature printing for the production of the three volume guide to forage plants, The Indigenous Grasses of New Zealand, is placed in the context of the nineteenth century approach to scientific illustration as evidence.

scholarly journals John Elder Moultray  (1865-1922)  History Painter or Historical Journalist?

2021 ◽  
Author(s):  
◽  
Marilyn Edwina Park
Keyword(s):  
Nineteenth Century ◽  
New Zealand ◽  
Art History ◽  
Art Practice ◽  
History Painting ◽  
Political Climate ◽  
The Public ◽  
Number Of Factors ◽  
Historical Issues ◽  
History Paintings

<p>This thesis was undertaken to investigate J. Elder Moultray‘s history paintings, his broader artistic oeuvre and journalistic output, and to place him in the context of nineteenth-century New Zealand art, journalism and the history painting genre generally. It is also intended to fill a lack of previous art-historical scholarship surrounding Moultray and his history paintings. Moultray‘s own diaries and published articles, as well as newspaper reports about him, provide a biographical sketch of his life and his own views on art history. A discussion of the development of the history painting genre, a detailed analysis of his history paintings and comments on his paintings from critics, both during his lifetime and after, leads to a number of conclusions. These suggest that Moultray‘s diminished reputation as an artist has resulted from a number of factors, including changing fashions in artistic styles, poor documentation in the referencing of his works, and a changing political climate which has desired to leave behind uncomfortable images of the New Zealand colonial wars. The latter is related to both his contemporary marginalisation and the deterioration of many of his paintings in the public domain. Unpicking the layers of Moultray‘s history paintings reveals their relevance to contemporary art-historical issues. In addition, Moultray‘s resistance to modernism and continuation of a nineteenth-century academic art practice into the twentieth century provides today‘s art historians with considerable insights. By exploring a body of Moultray‘s paintings, in tandem with his writings about art, the thesis reveals a significant contribution to New Zealand art history.</p>

scholarly journals John Elder Moultray  (1865-1922)  History Painter or Historical Journalist?

2021 ◽  
Author(s):  
◽  
Marilyn Edwina Park
Keyword(s):  
Nineteenth Century ◽  
New Zealand ◽  
Art History ◽  
Art Practice ◽  
History Painting ◽  
Political Climate ◽  
The Public ◽  
Number Of Factors ◽  
Historical Issues ◽  
History Paintings

<p>This thesis was undertaken to investigate J. Elder Moultray‘s history paintings, his broader artistic oeuvre and journalistic output, and to place him in the context of nineteenth-century New Zealand art, journalism and the history painting genre generally. It is also intended to fill a lack of previous art-historical scholarship surrounding Moultray and his history paintings. Moultray‘s own diaries and published articles, as well as newspaper reports about him, provide a biographical sketch of his life and his own views on art history. A discussion of the development of the history painting genre, a detailed analysis of his history paintings and comments on his paintings from critics, both during his lifetime and after, leads to a number of conclusions. These suggest that Moultray‘s diminished reputation as an artist has resulted from a number of factors, including changing fashions in artistic styles, poor documentation in the referencing of his works, and a changing political climate which has desired to leave behind uncomfortable images of the New Zealand colonial wars. The latter is related to both his contemporary marginalisation and the deterioration of many of his paintings in the public domain. Unpicking the layers of Moultray‘s history paintings reveals their relevance to contemporary art-historical issues. In addition, Moultray‘s resistance to modernism and continuation of a nineteenth-century academic art practice into the twentieth century provides today‘s art historians with considerable insights. By exploring a body of Moultray‘s paintings, in tandem with his writings about art, the thesis reveals a significant contribution to New Zealand art history.</p>

scholarly journals Rethinking nineteenth-century literary culture: British worlds, southern latitudes and hemispheric methods

2021 ◽  
pp. 002198942098201
Author(s):  
Sarah Comyn ◽  
Porscha Fermanis
Keyword(s):  
South Africa ◽  
Nineteenth Century ◽  
New Zealand ◽  
Literary Culture ◽  
Settler Colonialism ◽  
Indigenous Studies ◽  
Literary Cultures ◽  
History Of ◽  
Literary Canons ◽  
Methodological Position

Drawing on hemispheric, oceanic, and southern theory approaches, this article argues for the value of considering the nineteenth-century literary cultures of the southern settler colonies of Australia, New Zealand, and South Africa from within an interconnected frame of analysis. First, because of their distinctive historical and structural conditions; second, because of the density of their interregional networks and relations across intersecting oceanic spaces; and third, because of the long history of racialized imperialist imaginaries of the south. This methodological position rethinks current approaches to “British world” studies in two important ways: first, by decoupling the southern settler colonies from studies of settler colonialism in North America; and second, by rebalancing its metropolitan and northern locus by considering south-south networks and relations across a complex of southern islands, oceans, and continents. Without suggesting either that imperial intercultural exchanges with Britain are unimportant or that there is a culturally homogenous body of pan-southern writing, we argue that nineteenth-century literary culture from colonial Australia, New Zealand, and South Africa — what we call a “southern archive” — can provide a counterbalance to northern biases and provide new purchase on nation-centred literary paradigms — one that reveals not just south-south transnational exchanges and structural homologies between southern genres, themes, and forms, but also allows us to acknowledge the important challenges to foundational accounts of national literary canons initiated by southern theory and Indigenous studies scholars.

Art History and the Nineteenth Century: Realism and Resistance

1988 ◽  
Vol 70 (1) ◽  
pp. 25-48 ◽  
Author(s):  
Richard Shiff
Keyword(s):  
Nineteenth Century ◽  
Art History
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