Women and the Ends of Art History: Vision and Corporeality in Nineteenth-Century Critical Discourse

1998 ◽  
Vol 42 (1) ◽  
pp. 77-100 ◽  
Author(s):  
Hilary Fraser
Keyword(s):  
Nineteenth Century ◽  
Art History ◽  
Critical Discourse

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

‘She will wear the britsch’: Masculinity and the iconography of Prince Albert

2020 ◽  
Vol 7 (1-2) ◽  
pp. 199-222
Author(s):  
Hannah Bradshaw
Keyword(s):  
Nineteenth Century ◽  
Performance Studies ◽  
Art History ◽  
Male Body ◽  
Masculine Ideology ◽  
The Creation ◽  
Female Rule ◽  
And Performance

This article examines the early representations of Prince Albert that either satirize or attempt to reconcile the hierarchical ambiguities and issue of threatened masculinity that resulted from unconventional male consortship and female rule. It concludes that the latter was achieved through the development of a suitable and legible iconography for a nineteenth-century male consort in adherence with British iconographic tradition and values. Drawing from methods in nineteenth-century art history as well as gender and performance studies and anthropology, it argues that images of the male body play a fundamental role in the construction and perpetuation of masculine ideology and subjectivity through the creation of the semblance of an innate and axiomatic masculine archetype. In doing so, this article problematizes and historicizes masculinity by illuminating the plurality of expressions of masculinity and rejecting the essentialist narrative of masculinity as something measurable or quantifiable, as well as ahistorical, atemporal, apolitical and heteronormative.

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 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.

Art History and the Nineteenth Century: Realism and Resistance

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

scholarly journals The evaluation of old Serbian art during the formation of Serbian art history

Zograf ◽  
2010 ◽  
pp. 153-163
Author(s):  
Predrag Dragojevic
Keyword(s):  
Nineteenth Century ◽  
Art History ◽  
Gradual Change ◽  
Medieval Art

The paper sheds light on the development of the theoretical and methodological layer in Serbian texts about the art created during the nineteenth century and recognises the gradual change in the system of values, which was the precondition for the interpretation of medieval art.

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