Repainting the work of another into one's own canvas is a deliberate and often highly fraught act of reuse. This book examines the creation, display, and reception of such images. Artists working in nineteenth-century London were in a peculiar position: based in an imperial metropole, yet undervalued by their competitors in continental Europe. Many claimed that Britain had yet to produce a viable national school of art. Using pictures-within-pictures, British painters challenged these claims and asserted their role in an ...
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Repainting the work of another into one's own canvas is a deliberate and often highly fraught act of reuse. This book examines the creation, display, and reception of such images. Artists working in nineteenth-century London were in a peculiar position: based in an imperial metropole, yet undervalued by their competitors in continental Europe. Many claimed that Britain had yet to produce a viable national school of art. Using pictures-within-pictures, British painters challenged these claims and asserted their role in an ongoing visual tradition. By transforming pre-existing works of art, they also asserted their own painterly abilities. Recognizing these statements provided viewers with pleasure, in the form of a witty visual puzzle solved, and with prestige, in the form of cultural knowledge demonstrated. At stake for both artist and audience in such exchanges was status: the status of the painter relative to other artists, and the status of the viewer relative to other audience members. By considering these issues, this book demonstrates a new approach to images of historic displays. Through examinations of works by J.M.W. Turner, John Everett Millais, John Scarlett Davis, Emma Brownlow King, and William Powell Frith, this book reveals how these small passages of paint conveyed both personal and national meanings.
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Add this copy of Pictures-Within-Pictures in Nineteenth-Century Britain to cart. $48.00, good condition, Sold by Common Crow Books rated 5.0 out of 5 stars, ships from Pittsburgh, PA, UNITED STATES, published 2016 by Routledge.
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Good. Glossy paper covered boards, octavo, illustrated in color and b&w. Book has mild wear to spine ends and corners, gentle rubbing to boards, binding tight, text has some erasable pencil marginalia scattered throughout.
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New. Print on demand Contains: Illustrations, black & white, Halftones, black & white, Halftones, color. Studies in Art Historiography . Includes: halftones, color, halftones, black & white, illustrations, black & white.
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New. Contains: Illustrations, black & white, Halftones, black & white, Halftones, color. Studies in Art Historiography . Includes: halftones, color, illustrations, black & white, halftones, black & white.
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