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An indolent and blundering art ? : the etching revival and the redefinition of etching in England 1838-1892

Author: Emma Chambers
Publisher: Aldershot : Ashgate, cop. 1999.
Edition/Format:   Print book : EnglishView all editions and formats

An exploration of the etching revival and redefinition of etching in England between 1838 and 1892. It is arranged around a number of topics including developing styles and the language used to  Read more...


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Document Type: Book
All Authors / Contributors: Emma Chambers
ISBN: 1859284442 9781859284445
OCLC Number: 717550942
Description: XVI, 294 p. : ill. ; 24 cm.
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)
Responsibility: Emma Chambers.


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