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Landscape imagery and urban culture in early nineteenth-century Britain
Author
Title
Landscape imagery and urban culture in early nineteenth-century Britain / Andrew Hemingway.
ISBN
0521391180
9780521391184
Published
Cambridge [England] ; New York, NY, USA : Cambridge University Press, 1992.
Physical Description
xix, 363 pages, 56 unnumbered pages of plates : illustrations, maps ; 26 cm
Notes
Based on the author's doctoral thesis at University College, London.
Format
Books
Language
English
Added to Catalog
June 01, 2002
Bibliography
Includes bibliographical references (pages 345-355) and index.
Contents
List of plates
List of maps
Preface
Acknowledgements
1 Art as seen (starting p. 1)
2 Ideology and naturalism (starting p. 8)
(i) Aims and approach (starting p. 8)
(ii) Ideology (starting p. 12)
(iii) Naturalism and style (starting p. 15)
(iv) Naturalism and the picturesque (starting p. 19)
(v) Naturalism and meaning (starting p. 26)
3 Artists in British society 1829-1830 (starting p. 29)
(i) Politics and class consciousness (starting p. 29)
(ii) Artistic 'autonomy', patronage, and the market (starting p. 34)
4 Philosophical criticism's man of taste (starting p. 48)
5 Philosophical criticism and the science of landscape (starting p. 62)
(i) The man of taste in the country
a universe of signs (starting p. 62)
(ii) Seeing the picturesque (starting p. 67)
(iii) The pleasures of the city
an inversion (starting p. 72)
(iv) The landscape painter's science of signs (starting p. 75)
6 Naturalism and the academic ideal (starting p. 79)
(i) Academic theory and philosophical criticism (starting p. 79)
(ii) Landscape painting in academic theory (starting p. 86)
(iii) Society and the artist in academic theory (starting p. 89)
(iv) Modifications in academic discourse (starting p. 93)
7 Art criticism and the politics of landscape (starting p. 105)
(i) The metropolitan press (starting p. 105)
(ii) Art criticism as cultural critique (starting p. 109)
(iii) The functions of naturalism (starting p. 149)
8 The imagery of seaside resorts and modern leisure (starting p. 155)
(i) Attitudes towards resort development (starting p. 156)
(ii) The imagery of prints (starting p. 163)
(iii) Early oil paintings and water-colours (starting p. 168)
(iv) Imagery of Hastings (starting p. 171)
(v) Constable, Turner, and Brighton (starting p. 181)
(vi) Norwich artists and Great Yarmouth (starting p. 196)
(vii) Conclusions (starting p. 214)
9 The contradictions of progress: imagery of rivers (starting p. 216)
(i) The symbolism of rivers (starting p. 216)
(ii) Histories, topographies, and prints (starting p. 219)
(iii) Turner's Thames Series (starting p. 224)
(iv) Constable's Stour paintings (starting p. 245)
(v) The imagery of the Norfolk rivers (starting p. 257)
(vi) Constructing social harmony: regattas and water frolics (starting p. 277)
(vii) Conclusions (starting p. 291)
Conclusion: The passing of naturalism (starting p. 292)
Notes (starting p. 301)
Bibliography (starting p. 345)
Index (starting p. 356).
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