| Description |
1 online resource (311 pages) |
| Series |
Routledge Revivals Ser |
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Routledge Revivals Ser
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| Contents |
Cover; Half Title; Title; Copyright; Contents; List of Figures; Acknowledgements; List of Abbreviations; Introduction: 'An indolent and blundering art'? The Etching Revival and the redefinition of etching in England 1838-1892; 1 From chemical process to the aesthetics of omission: etching and the languages of art criticism in nineteenth-century England; The identity of etching in early technical treatises; The emergence of painters' etching: conflicts between the languages of art and technology in etching handbooks of the 1840s |
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'A labour of selection and omission': new theories of the aesthetics and practice of etching in the writing of Francis Seymour Haden'Synthetic selection': Hamerton's Etching and Etchers; The quest for academic status: etching and the lecture circuit 1872-1892; 2 Private sociability versus professional status: etching clubs and societies in nineteenth-century England; Sociability and 'mutual improvement in art': The meetings of the Etching Club; Collective reputation: the Etching Club and the shares system; The Society of Painter-Etchers and the 'promotion of original etching' |
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'Corridor talk': official and unofficial communication in the Society of Painter-Etchers3 Objects of desire: etching and print collecting; Strategies of desire: completion and seriality in print collecting; Sheepshanks and the languages of value in print collecting; The Etching Club and the early limited edition; The Printsellers' Association and the regulation of categories of description; Haden and the Printsellers' Association; Towards the unique reproducible image; 4 Medium and message: etching and the illustrated book |
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Links between the patronage of paintings and prints: Sheepshanks and the Etching ClubWord and image, medium and message: the construction of meaning in the illustrated book; Rural morality and Victorian society: the remaking of The Deserted Village; Selling etching by subscription: the Etching Club and the early Victorian print market; From book to frame: new strategies for selling etchings; 5 Etching from nature: urban texts and tourism; Regulation and recreation: representing Victorian working-class London |
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Crossing boundaries: slumming and the depiction of urban poverty in Whistler's Thames SetThe reception of Whistler's Thames Set; Haden's Etudes à l'eauforte: amateur practice and the autonomy of the etched line; 6 Exhibition culture: the luxury commodity and the status of etching in the late nineteenth century; Etching and the exhibition in the 1870s; Display and consumer culture: the exhibitions of the Society of Painter-Etchers 1881-1892; Commercial interests and the changing aims of the Society of Painter-Etchers; Appendix 1: List of Etching Club members |
| Notes |
Appendix 2: List of subscribers to The Deserted Village, 1840-1876 |
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Print version record |
| Form |
Electronic book
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| ISBN |
9780429852831 |
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0429852835 |
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