Emma Merkling reviews ‘Painting Light and Hope’ at Manchester Art Gallery, the first retrospective of artist Annie Swynnerton (1844–1933) in nearly a century.
Emma Merkling在曼彻斯特美术馆评论“绘画之光与希望”，这是艺术家Annie Swynnerton(1844-1933)近一个世纪以来的首次回顾展。
{"title":"Review of ‘Annie Swynnerton: Painting Light and Hope’, Manchester Art Gallery","authors":"Emma Merkling","doi":"10.16995/NTN.851","DOIUrl":"https://doi.org/10.16995/NTN.851","url":null,"abstract":"Emma Merkling reviews ‘Painting Light and Hope’ at Manchester Art Gallery, the first retrospective of artist Annie Swynnerton (1844–1933) in nearly a century.","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":"86468033","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":"Lucy May Perkins (1877–1922)","authors":"Imogen Tedbury","doi":"10.16995/NTN.846","DOIUrl":"https://doi.org/10.16995/NTN.846","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89099204","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}
An unpublished essay written in 1894–95 by Mary Berenson offers the first extended analysis of ‘the immense popularity among cultivated Anglo-Saxons’ of Botticelli. Written in collaboration with Bernard Berenson, it offers the idiosyncratic view that the dreamy aspect of Botticelli’s figures results from the tension between the artist’s interest in both linearity and unidealized naturalism. The ‘indeterminate’ appearance of his works appealed to fifteenth-century viewers, who vacillated between Christian and ‘Renaissance’ values, and to modern observers, who were similarly undecided between religion and modernity. The Pre-Raphaelites, for example, revealed ‘a dissatisfaction with the present that leads them to take refuge’ in Renaissance dreams, but this was due in part to their mistaken acceptance of workshop paintings as works by Botticelli himself. Their flawed approach was compounded by the writings of Ruskin and Pater. The science of connoisseurship, as developed by the Berensons, is required to truly understand Botticelli.
{"title":"An Unpublished Essay by Mary Berenson, ‘Botticelli and his Critics’ (1894–95)","authors":"J. Nelson","doi":"10.16995/NTN.837","DOIUrl":"https://doi.org/10.16995/NTN.837","url":null,"abstract":"An unpublished essay written in 1894–95 by Mary Berenson offers the first extended analysis of ‘the immense popularity among cultivated Anglo-Saxons’ of Botticelli. Written in collaboration with Bernard Berenson, it offers the idiosyncratic view that the dreamy aspect of Botticelli’s figures results from the tension between the artist’s interest in both linearity and unidealized naturalism. The ‘indeterminate’ appearance of his works appealed to fifteenth-century viewers, who vacillated between Christian and ‘Renaissance’ values, and to modern observers, who were similarly undecided between religion and modernity. The Pre-Raphaelites, for example, revealed ‘a dissatisfaction with the present that leads them to take refuge’ in Renaissance dreams, but this was due in part to their mistaken acceptance of workshop paintings as works by Botticelli himself. Their flawed approach was compounded by the writings of Ruskin and Pater. The science of connoisseurship, as developed by the Berensons, is required to truly understand Botticelli.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88649086","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 Philadelphia Merrifield (15 April 1804–4 January 1889)","authors":"Zahira Véliz Bomford","doi":"10.16995/NTN.868","DOIUrl":"https://doi.org/10.16995/NTN.868","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"87 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75699252","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}
This article investigates and contextualizes a less-studied aspect of Anna Jameson’s writings on art — her lobbying for the systematic acquisition, display, and dissemination of information about the old masters at the National Gallery, London. It also sets this aspect of Jameson’s scholarship within a broader context of her later art writings to tease out important common, abiding threads, not least her focus on areas that were not mainstream fields of art history at the time; her employment of an empirical research methodology, inspired by innovative Continental scholarship; and her tone of voice, carefully chosen to engage a non-specialist readership. Jameson’s work will be compared too with that of other women art writers of her generation, notably Maria Graham (later Lady Callcott) and Mary Merrifield, to assess what was distinctive about their work, especially in relation to what their male peers were producing. Particular mention will be made of Charles Eastlake, secretary of the Fine Arts Commission from 1841 and keeper of the National Gallery from 1843, and the fruitful working association he enjoyed with all three women, especially during the 1840s, before his marriage, in 1849, to Elizabeth Rigby, who herself thereafter went on to make her name as a writer on art historical matters.
{"title":"Illuminating the Old Masters and Enlightening the British Public: Anna Jameson and the Contribution of British Women to Empirical Art History in the 1840s","authors":"S. Avery-Quash","doi":"10.16995/NTN.832","DOIUrl":"https://doi.org/10.16995/NTN.832","url":null,"abstract":"This article investigates and contextualizes a less-studied aspect of Anna Jameson’s writings on art — her lobbying for the systematic acquisition, display, and dissemination of information about the old masters at the National Gallery, London. It also sets this aspect of Jameson’s scholarship within a broader context of her later art writings to tease out important common, abiding threads, not least her focus on areas that were not mainstream fields of art history at the time; her employment of an empirical research methodology, inspired by innovative Continental scholarship; and her tone of voice, carefully chosen to engage a non-specialist readership. Jameson’s work will be compared too with that of other women art writers of her generation, notably Maria Graham (later Lady Callcott) and Mary Merrifield, to assess what was distinctive about their work, especially in relation to what their male peers were producing. Particular mention will be made of Charles Eastlake, secretary of the Fine Arts Commission from 1841 and keeper of the National Gallery from 1843, and the fruitful working association he enjoyed with all three women, especially during the 1840s, before his marriage, in 1849, to Elizabeth Rigby, who herself thereafter went on to make her name as a writer on art historical matters.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86242081","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 Miller (1741–1781)","authors":"Isabelle Baudino","doi":"10.16995/NTN.869","DOIUrl":"https://doi.org/10.16995/NTN.869","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87817899","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 Alice Wilson Cruttwell (1860–1939)","authors":"F. Ventrella","doi":"10.16995/NTN.861","DOIUrl":"https://doi.org/10.16995/NTN.861","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76802677","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":"Eliza Foster (dates unknown)","authors":"P. Rubin","doi":"10.16995/NTN.864","DOIUrl":"https://doi.org/10.16995/NTN.864","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"97 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80491722","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":"Julia Cartwright (7 November 1851–28 April 1924)","authors":"M. Alambritis","doi":"10.16995/NTN.860","DOIUrl":"https://doi.org/10.16995/NTN.860","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73243312","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}
When Giovanni Battista Moroni’s portrait of a tailor entered the National Gallery collection in 1862, Elizabeth Eastlake quite rightly predicted in her diary that ‘This will be a popular picture’. The painting was the star exhibit at the Royal Academy Moroni exhibition in 2014, and in the intervening 150 years its appeal to spectators of both sexes has been unwavering. As a sitter who knowingly gazes back at the spectator, Moroni’s Tailor provokes powerful and imaginative responses from both male and female viewers. The ubiquity of The Tailor in late nineteenth-century culture — reproduced in prints, painted copies, needlepoint, and trading cards — made him a popular subject for charades and tableaux vivants. Ever since George Eliot’s comparison of her sinister male protagonist Grandcourt to a Moroni in Daniel Deronda (1876), the sitter has been associated with something dark and ominous, and I shall discuss the painting’s place in such fin-de-siecle Gothic narratives as ‘The Accursed Cordonnier’ (1900) and The Lady Killer (1902) as a magic object with sinister powers. A ladies’ man as well as a queer icon, appealing to Henry James and Walter Pater, Moroni’s ‘Tagliapanni’ is attractive in his anonymity, and I wish to question whether his appeal to a late nineteenth-century audience was gendered. Master or servant, fantasy man and ideal lover of men and women alike, the Tailor — in his effeminate red and white costume with the discreet codpiece — raises issues of the erotic and psychological appeal of old master portraiture, rooted in a sitter whose very profession is tied to the dressing and concealing of the naked human body and soul.
1862年，当乔瓦尼·巴蒂斯塔·莫罗尼的一幅裁缝肖像进入国家美术馆收藏时，伊丽莎白·伊斯特莱克在她的日记中非常正确地预测到“这将是一幅受欢迎的画”。这幅画是2014年皇家莫罗尼学院(Royal Academy Moroni)展览上的明星展品，在此后的150年里，它对男女观众的吸引力从未动摇。莫罗尼的《裁缝》作为一个故意凝视观众的模特，激起了男性和女性观众强烈而富有想象力的反应。《裁缝》在19世纪晚期的文化中无处不在——在印刷品、彩绘复制品、针织品和交易卡中被复制——使他成为猜字游戏和真人秀的热门主题。自从乔治·艾略特在《丹尼尔·德隆达》(Daniel Deronda, 1876)中将邪恶的男主角大court比作莫罗尼以来，这幅画就一直与黑暗和不祥的东西联系在一起。我将讨论这幅画在《被诅咒的科多尼耶》(the诅咒的科多尼耶)(1900)和《女杀手》(1902)等世纪末的哥特叙事中作为具有邪恶力量的魔法物体的地位。莫罗尼的“塔利亚潘尼”吸引了亨利·詹姆斯(Henry James)和沃尔特·佩特(Walter Pater)，他既是一个讨女人喜欢的男人，也是一个酷儿偶像。莫罗尼的“塔利亚潘尼”之所以吸引人，是因为他的匿名性。我想问的是，他对19世纪晚期观众的吸引力是否与性别有关。主人或仆人，幻想的男人和理想的情人的男人和女人一样，裁缝-在他的女性化的红白服装与谨慎的遮荫-提出了色情和心理吸引力的问题，植根于一个坐像的职业是绑在穿衣和隐藏裸露的人体和灵魂。
{"title":"‘This will be a popular picture’: Giovanni Battista Moroni’s Tailor and the Female Gaze","authors":"Lene Østermark-Johansen","doi":"10.16995/NTN.822","DOIUrl":"https://doi.org/10.16995/NTN.822","url":null,"abstract":"When Giovanni Battista Moroni’s portrait of a tailor entered the National Gallery collection in 1862, Elizabeth Eastlake quite rightly predicted in her diary that ‘This will be a popular picture’. The painting was the star exhibit at the Royal Academy Moroni exhibition in 2014, and in the intervening 150 years its appeal to spectators of both sexes has been unwavering. As a sitter who knowingly gazes back at the spectator, Moroni’s Tailor provokes powerful and imaginative responses from both male and female viewers. The ubiquity of The Tailor in late nineteenth-century culture — reproduced in prints, painted copies, needlepoint, and trading cards — made him a popular subject for charades and tableaux vivants. Ever since George Eliot’s comparison of her sinister male protagonist Grandcourt to a Moroni in Daniel Deronda (1876), the sitter has been associated with something dark and ominous, and I shall discuss the painting’s place in such fin-de-siecle Gothic narratives as ‘The Accursed Cordonnier’ (1900) and The Lady Killer (1902) as a magic object with sinister powers. A ladies’ man as well as a queer icon, appealing to Henry James and Walter Pater, Moroni’s ‘Tagliapanni’ is attractive in his anonymity, and I wish to question whether his appeal to a late nineteenth-century audience was gendered. Master or servant, fantasy man and ideal lover of men and women alike, the Tailor — in his effeminate red and white costume with the discreet codpiece — raises issues of the erotic and psychological appeal of old master portraiture, rooted in a sitter whose very profession is tied to the dressing and concealing of the naked human body and soul.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84721081","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}
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