English etching changed radically during the 19th century. The new style of work gave etching a distinctive appearance which was allied to theories of the sketch and of working direct from nature and reliant on swift execution. The freedom and directness of the etching process became a key plank in a sustained effort to raise the status of etching in Britain spearheaded by artists such as Francis Seymour Haden and James McNeill Whistler and members of the Etching Club. This volume opens with a description of the use of language and art criticism to redefine etching as art rather than craft and the use of art institutions and the art market in this process, in the first half of the 19th century. Focused on Britain, the book offers an investigation of the market for etchings in the Victorian period. It is arranged around a number of topics including developing styles and the language used to describe the work, etching clubs, the market, hierarchies of medium and genre, shifting boundaries between the amateur and professional artist and the prestige of different types of artistic practice such as etching from nature and book illustration.
Sprache
Verlagsort
Verlagsgruppe
Zielgruppe
Für höhere Schule und Studium
Für Beruf und Forschung
Illustrationen
43 b&w illustrations, bibliography, index
Maße
Höhe: 164 mm
Breite: 242 mm
ISBN-13
978-1-85928-444-5 (9781859284445)
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Schweitzer Klassifikation
Introduction - "an indolent and blundering art?" - the etching revival and the redefinition of etching in England 1838-92; from chemical process to the aesthetics of omission - etching and the languages of art criticism in 19th-century England - the identity of etching in early treatises; the emergence of painters' etching - conflicts between the languages of art and technology in etching handbooks of the 1840s; "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 1872-92; private sociability versus professional status - etching clubs and societies in 19th-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"; "corridor talk" - official and unofficial communication in the Society of Painter-Etchers; 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 editions; the Printseller's Association and the regulation of categories of description; Haden and the Printseller's Association; towards the unique reproducible image; medium and message - etching and the illustrated book; links between the patronage of paintings and prints -Sheepshanks and the Etching Club; word 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. (Part contents)
