Victorian Painting

2018 ◽  
Author(s):  
John Charles Olmsted
Keyword(s):  
Victorian Painting

graham reynolds, Victorian Painting

1969 ◽  
Vol 51 (1) ◽  
pp. 99-100
Author(s):  
Joseph C. Sloane
Keyword(s):  
Victorian Painting

scholarly journals Stories of Victorian Paintings at Auckland Art Gallery Toi o Tāmaki – Navigating Intersections between Past and Present

2021 ◽  
pp. 95-111
Author(s):  
Anya Samarasinghe
Keyword(s):  
Twentieth Century ◽  
New Zealand ◽  
Art Gallery ◽  
Shifting Boundaries ◽  
Victorian Painting

Victorian painting featured strongly in Auckland Art Gallery Toi o Tāmaki’s early collection and continued to be acquired well into the twentieth century. These artworks have tendedto be displayed through the lenses of theme and narrative. However, the need to invigorate this format is gaining momentum as curators are exploring ways to navigate intersections between past and present. Te Haerenga/The Passage, currently on display at Auckland Art Gallery Toi o Tāmaki, is in keeping with the drive towards enabling historical, international artworks, such as Victorian painting, to be displayed in connection with contemporary New Zealand and Māori art, thus shifting boundaries between traditional perceptions of the art historical canon and contemporary notions of identities and ideas.

Victorian Painting

1969 ◽  
Vol 51 (1) ◽  
pp. 99
Author(s):  
Joseph C. Sloane ◽  
Graham Reynolds
Keyword(s):  
Victorian Painting

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.

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