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|Description:||XVI, 294 S. : ill.|
|Contents:||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)|