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Landscape imagery and urban culture in early nineteenth-century Britain

Title
Landscape imagery and urban culture in early nineteenth-century Britain / Andrew Hemingway.
ISBN
0300247397
9780300247398
0521391180
9780521391184
Publication
Cambridge [England] ; New York, NY, USA : Cambridge University Press, 1992.
Physical Description
1 online resource (xix, 363 pages, 56 unnumbered pages of plates) : 125 illustrations, maps
Local Notes
Access is available to the Yale community.
Notes
Based on the author's doctoral thesis at University College, London.
Access and use
Access restricted by licensing agreement.
Summary
"Britain in the early 19th century saw the emergence of a new type of landscape painting distinguished by its modern imagery and innovative naturalism, representing modern life within the landscape tradition, a tradition centred on the pastoral and the picturesque. The author interprets landscape painting of this period as an essentially urban phenomenon and demonstrates the ways in which painters sought to incorporate images of modern life into the tradition of landscape painting. Works by Turner, Constable and Crome, as well as many lesser known artists, are placed within the context of the London exhibition scene and the social world of the metropolis. Different class attitudes towards art and towards landscape painting in particular are explored through an analysis of contemporary art theory and criticism. The author draws upon the topographical literature of the period, as well as on poetry and social history, to illustrate his extensive account of landscape imagery: the seaside resort, the river and other scenes of modern leisure"--Publisher's description.
Variant and related titles
Landscape imagery and urban culture in early 19th-century Britain
Other formats
Original
Format
Books / Online
Language
English
Added to Catalog
March 21, 2022
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).
Also listed under
Cambridge University Press, publisher.
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