Printing and Painting the News in Victorian London offers a fresh perspective on Social Realism by contextualizing it within the burgeoning new media environment of Victorian London. Paintings labelled as Social Realist by Luke Fildes, Frank Holl and Hubert Herkomer are frequently considered to typify the sentimental Victorian genre painting that quickly became outdated with the development of modernism. Yet this book argues that the paintings must be considered as the result of the new experiences of modernity-the urban poverty that the paintings represent and, most importantly, the advent of the mass-produced illustrated news. Fildes, Holl and Herkomer worked for The Graphic, a publication launched in 1869 as a rival to the dominant Illustrated London News. The artists? illustrations, which featured the growing problem of urban poverty, became the basis for large-scale paintings that provoked controversy among their contemporaries and later became known as Social Realism. This first in-depth study of The Graphic and Social Realism uses the approach of media archaeology to unearth the modernity of these works, showing that they engaged with the changing notions of objectivity and immediacy that nineteenth-century new media cultivated. In doing so, this book proposes an alternative trajectory for the development of modernism that allows for a richer understanding of nineteenth-century visual culture.
The art and business of photography arrived in Portsmouth in 1840. Beginning with the sale of daguerreotypes and progressing to the creation of studio cards and stereoscopic views, photography studios prospered and grew throughout the latter half of the nineteenth century. Among the most successful of these studios in the Portsmouth area were those operated by the Davis brothers--Lewis and Charles--from 1856 to 1903. The Davis brothers began by creating and selling portrait photographs, and their business evolved over the years to include the sale of stereoscopic views. The Seacoast's healthy tourist market demanded stereopticon images of Portsmouth, New Castle, Rye, the Hamptons, Kittery, York, and the Isles of Shoals, and the Davis brothers responded with a large and varied selection of such images.
Edward King's personal story is so evocative of the period that it could have been a Victorian tragedy written by Charles Dickens. Edward King's contemporaries were the most famous of English Victorian artists such as Boyd Houghton, Charles Keene, Aubrey Beardsley and Walter Sickert, most of whom were, like him, strongly influenced by Impressionism. He often makes references to his contemporaries, though not always favourable ones!
Recounting a fascinating wildlife sanctuary project put together by women's groups in Petersburg, Virginia, in the 1930s, this book focuses on the detailed paintings that artist Bessie Niemeyer Marshall produced for the project. The 222 of her 238 botanical watercolors showcased here depict a host of native flowers, shrubs, and trees, including some rare and imperiled species. 13 photos. 1 map.
Catalogue of a traveling exhibition from the Society for the Preservation of New England Antiquities (SPNEA). This exhibition, drawn from their collections, features over 175 objects - furniture, costumes, paintings, and household furnishings, chosen not only for their visual appeal, but also for the stories they tell about three hundred years of life in the region.
Heartsone is C. J. Sansom's fifith spellbinding mystery in C. J. Sansom's number one bestselling Shardlake series, for fans of Hilary Mantel and Philippa Gregory. 'When it comes to intriguing Tudor-based narratives, Hilary Mantel has a serious rival' - Sunday Times ‘Sansom has the trick of writing an enthralling narrative. Like Hilary Mantel, he produces densely textured historical novels that absorb their readers in another time’ - Andrew Taylor, Spectator England, 1545: England is at war. Henry VIII's invasion of France has gone badly wrong, and a massive French fleet is preparing to sail across the Channel. As the English fleet gathers at Portsmouth, the country raises the largest militia army it has ever seen. The King has debased the currency to pay for the war, and England is in the grip of soaring inflation and economic crisis. Meanwhile Matthew Shardlake is given an intriguing legal case by an old servant of Queen Catherine Parr. Asked to investigate claims of "monstrous wrongs" committed against a young ward of the court, which have already involved one mysterious death, Shardlake and his assistant Barak journey to Portsmouth. Once arrived, Shardlake and Barak find themselves in a city preparing to become a war zone; and Shardlake takes the opportunity to also investigate the mysterious past of Ellen Fettiplace, a young woman incarcerated in the Bedlam. The emerging mysteries around the young ward, and the events that destroyed Ellen's family nineteen years before, involve Shardlake in reunions both with an old friend and an old enemy close to the throne. Events will converge on board one of the King's great warships, primed for battle in Portsmouth harbour . . . A bestselling phenomenon, the Shardlake series is perfect for fans of Hilary Mantel's The Mirror and the Light. Continue the gripping historical series with Lamentation and Tombland.
Discover a realm where anything is possible. Where peril and passion collide. Where a woman is tempted by a man she wants but can never have. A man she could destroy with just one kiss. Discover THE HUNGER . . . The year is 1811, and vampire Beatrix Lisse has spent six hundred years trying to atone for her sins.Yet she can’t forget the one man she loved many centuries ago—until she meets John Staunton, the Earl of Langley. John is London’s most notorious rogue, but he sees an innocence in Beatrix that she no longer believed existed. But Beatrix can’t bring herself to reveal her true nature to John, even after they surrender to their fierce passion. It’s only after John abandons Beatrix that she learns he has a secret of his own . . . An undercover spy for England, John’s mission is to find out who is behind the sudden shift in power in the French government. If he allows himself to get too close to Beatrix, John knows he’ll put her life in danger. But as John gets closer to completing his mission, the very person he seeks is none other than Beatrix’s centuries-old rival. With the world unraveling around them, John and Beatrix unite to fight a nemesis whose fury has no limit—even as their unquenchable passion grows more dangerous by the day . . .
The third edition of The Dictionary of Sea Painters further enhances its stature as the pre-eminent reference guide in its field. Marine painting, as befits the historical importance of its subject, has a rich and varied heritage. The range stretches from the heroics of great artists such as Turner to the humble yet finely detailed harbour paintings intended for master mariners. The range of work between these two extremes is widely collected and admired, and the dictionary satisfies an ever-growing demand for authoritative information from collectors, dealers and auction houses. Other sections of the book offer a wealth of further information. There are detailed drawings of the stems and sterns of important ships, and maritime flags are illustrated in colour - an asset for the purposes of dating and identification.