19 : interdisciplinary studies in the long nineteenth century最新文献

{"title":"Emilia Francis, Lady Dilke (2 September 1840–24 October 1904)","authors":"Hilary Fraser","doi":"10.16995/NTN.862","DOIUrl":"https://doi.org/10.16995/NTN.862","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84495935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Navigating Networks in the Victorian Age: Mary Philadelphia Merrifield’s Writing on the Arts","authors":"Zahira Véliz Bomford","doi":"10.16995/NTN.826","DOIUrl":"https://doi.org/10.16995/NTN.826","url":null,"abstract":"When Mary Philadelphia Merrifield (1804–1889) wrote her three major published works on the fine arts in the 1840s, she was simultaneously fulfilling several additional demanding roles. Married to a Brighton barrister with delicate health, and mother to five children between the ages of eight and eighteen living at home, Merrifield’s domestic management alone would have consumed the waking hours of most Victorian women. Her ageing mother also lived with the family, and the education of the younger children was undertaken at home. On the surface, this setting seems an unlikely one for a researcher whose investigation into the authentic materials and methods of the old masters would bring her to the attention of the Fine Arts Commission, convened in response to the challenge of rebuilding the Houses of Parliament after the fire of 1834. Close reading of Merrifield’s published works, together with her own correspondence and that of her broader family and associates, illuminates the complex networks that were fundamental to her ability to research, write, and publish. She was supported by strong and constant encouragement from her husband and collaboration from her family. At the same time, her non-official status seems to have allowed a degree of familiarity in her correspondence with some of the powerful figures in the art-political world, such as Sir Robert Peel or Sir Charles Eastlake, whose support was also key. The pursuit of her research missions on the Continent allowed her to develop her own network of specialist researchers. In the libraries, art academies, and galleries where her identity as a foreign woman seems to have mitigated the social censure normally expected for those of her sex who ventured into activities associated with the male sphere, she secured respect and even friendship. Merrifield’s publications on the materials of the old masters have stood the test of time extraordinarily well. Her writing is not only of note because the author was a woman. Merrifield is still an authoritative source often cited in the publications on technical art history, and her words retain scholarly value related closely to her original aims. Perhaps the informally collaborative nature of her research, writing, and publishing brought the components of opinion and rigorous argument into a just equilibrium.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"26 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76746836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"George Eliot, Lady Eastlake, and the Humbug of Old Masters","authors":"P. Rubin","doi":"10.16995/NTN.830","DOIUrl":"https://doi.org/10.16995/NTN.830","url":null,"abstract":"Glossing an entry in George Eliot’s journal where she records her reaction to paintings by Rubens in Antwerp provides an opportunity to consider the commonplaces and conventions that informed writing about art in the mid-nineteenth century and the place of two uncommonly gifted women as contributors to the discourse of the arts at that time. The paper asks what constituted ‘humbug’ in relation to old masters and what might be regarded as humdrum in their appreciation. In many ways contrasting figures, as authors, George Eliot and Elizabeth Rigby Eastlake manifest the manifold voices of woman writers and the multiple possibilities for writing about art historically. Rigorous researchers, acute observers, and keen literary stylists, they were serious, passionate, and humorous. Both wrote for different purposes and in different genres in ways that allow for an exploration of the degree to which a ‘woman’s experience and observations bring within her special knowledge’ (to quote George Eliot once again), or rather that they might bring special knowledge to a developing and debated realm of knowledge.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"246 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75890555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Women in the Galleries: New Angles on Old Masters in the Late Nineteenth Century","authors":"Meaghan Clarke","doi":"10.16995/NTN.823","DOIUrl":"https://doi.org/10.16995/NTN.823","url":null,"abstract":"The subject of this issue of 19 might raise a series of questions: Who were the women writing about old masters? What do we know about these women? How and where were they able to see old masters? Where were they writing? There were in fact many women working across the period and an overview of research on these women reveals recurring themes, such as the importance of networks, travel, translation, and empirical research. Anna Jameson, while ridiculed by Ruskin for knowing ‘as much of art as the cat’, set a precedent for later generations of women writing at the end of the century. This article will initially consider women’s contributions to art writing and the patterns that emerged as the century progressed. The recent National Gallery exhibition ‘Reflections’ brought together Van Eyck and the Pre-Raphaelites, and in the second half of the article I will look at how the Victorian fascination with old masters re-emerges at the end of the century. The study of the early Renaissance in Italian painting was foregrounded by a group of writers, the best known being Roger Fry and Bernard Berenson. This article will ask how and where women in this circle foregrounded analysis of historical techniques. Two case studies will be considered: the National Gallery and the Whitechapel Art Gallery. Art writers discussed will include Julia Cartwright, Vernon Lee, and the writer and artist Christiana Herringham. I will argue that gallery spaces were a nexus for the development of expertise on early Renaissance techniques and their dissemination. The involvement of women in not just art writing, but exhibitions of ‘masterpieces’, offers insight into the shaping of art history at the fin de siecle.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79289545","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Maud Cruttwell and the Berensons: ‘A preliminary canter to an independent career’","authors":"Tiffany L. Johnston","doi":"10.16995/NTN.821","DOIUrl":"https://doi.org/10.16995/NTN.821","url":null,"abstract":"Although his long-time companion and wife, Mary Costelloe Berenson, was Bernard Berenson’s most conspicuous female protegee, she was obligated to write under a pseudonym. She therefore focused a large share of her energies in assisting Bernard in his research and writing, as well as in shaping the reception of his school of connoisseurship through articles and reviews. Among the several sapphic women in their circle studying art — a group Mary dubbed the ‘Virgins of the Hill’ — Maud Cruttwell was perhaps the most outwardly successful. Having studied under the tutelage of both Mary and Bernard Berenson, she established an independent reputation by publishing a series of popular artist monographs in rapid succession. Though she eventually became disillusioned with the field of art history, her contributions, important for their popularization of Berensonian connoisseurship, long remained benchmark resources in, as well as models for, the study of Italian Renaissance art.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78842356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mary Berenson (14 February 1864–23 March 1945)","authors":"Tiffany L. Johnston","doi":"10.16995/NTN.858","DOIUrl":"https://doi.org/10.16995/NTN.858","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"63 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73045715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Maria, Lady Callcott (19 July 1785–21 November 1842)","authors":"Caroline Palmer","doi":"10.16995/NTN.849","DOIUrl":"https://doi.org/10.16995/NTN.849","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75488201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review of ‘Christiana Herringham: Artist, Campaigner, Collector’, Royal Holloway, Emily Wilding Davison Building","authors":"M. Alambritis","doi":"10.16995/NTN.852","DOIUrl":"https://doi.org/10.16995/NTN.852","url":null,"abstract":"Maria Alambritis reviews the exhibition ‘Christiana Herringham: Artist, Campaigner, Collector’ at Royal Holloway (14 January–8 March 2019).","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"255 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76998593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Anna Brownell Jameson (17 May 1794–17 March 1860)","authors":"Diane apostolos-Cappadona","doi":"10.16995/NTN.866","DOIUrl":"https://doi.org/10.16995/NTN.866","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82892256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Writing Cosmopolis: The Cosmopolitan Aesthetics of Emilia Dilke and Vernon Lee","authors":"Hilary Fraser","doi":"10.16995/NTN.844","DOIUrl":"https://doi.org/10.16995/NTN.844","url":null,"abstract":"In his 1920 review of Vernon Lee’s avant-garde pacifist allegory Satan, the Waster: A Philosophical Trilogy, George Bernard Shaw salutes the author as a representative of ‘the old guard of Victorian cosmopolitan intellectualism’. Shaw’s formulation reflects the fact that he is writing after the watershed (and bloodshed) of World War I had rendered cosmopolitanism a contested concept. He looks back nostalgically to a cultural moment when the idea of transnational European cooperation seemed both right-thinking and realizable, a moment that he identifies with the figure of Vernon Lee (1856–1935). A century on, as we face another watershed in Anglo-European relations, it seems timely to revisit that cosmopolitan ideal, at once old guard and avant-garde, and how it inflected Victorian cultural history. This article will take a particular aspect of Lee’s protean oeuvre — her contribution to the historiography of art — as a starting point for reflecting on the cosmopolitan mobility of nineteenth-century female art historians, and how their unsettling subversion of national cultural boundaries was a shaping factor in the evolving identity of British art and art history as produced in Great Britain. It will consider in particular the transnational contribution of the late-Victorian historian of French art, Emilia Dilke (1840–1904), alongside Lee’s own books on Renaissance Italy.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78181218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}