|
|
|
ix | |
| Acknowledgements |
|
xiii | |
|
|
|
xv | |
| Introduction: 'An indolent and blundering art'? The Etching Revival and the redefinition of etching in England 1838--1892 |
|
1 | (12) |
|
From chemical process to the aesthtics of omission: etching and the languages of art criticism in nineetenth-century England |
|
|
13 | (30) |
|
The identity of etching in early technical treatises |
|
|
14 | (2) |
|
The emergence of painters' etching: conflicts between th languages of art and technology in etching handbooks of the 1840s |
|
|
16 | (5) |
|
'A labour of selection and omission': new theories of the aesthetics and practice of etching in the writing of Francis Symour Haden |
|
|
21 | (10) |
|
'Synthetic selection': Hamerton's Etching and Etchers |
|
|
31 | (5) |
|
The quest for academic status: etching and the lecture circuit 1872--1892 |
|
|
36 | (7) |
|
Private sociability versus professional status: etching clubs and societies in nineteenth-century England |
|
|
43 | (20) |
|
Sociability and 'mutual improvement in art': The meeting of the Etching Club |
|
|
46 | (3) |
|
Collective reputation: the Etching Club and the shares system |
|
|
49 | (4) |
|
The Society of Painter-Etchers and the 'promotion of original etching' |
|
|
53 | (6) |
|
'Corridor talk': official and unofficial communication in the Society of Painter-Etchers |
|
|
59 | (4) |
|
Objects of desire: etching and print collecting |
|
|
63 | (26) |
|
Strategies of desire: completion and seriality in print collecting |
|
|
64 | (5) |
|
Sheepshanks and the languages of value in print collecting |
|
|
69 | (5) |
|
The Etching Club and the early limited edition |
|
|
74 | (2) |
|
The Printsellers' Association and the regulation of categories of description |
|
|
76 | (2) |
|
Haden and the Printsellers' Association |
|
|
78 | (6) |
|
Towards the unique reproducible image |
|
|
84 | (5) |
|
Medium and message: etching and the illustrated book |
|
|
89 | (38) |
|
Links between the patronage of paintings and prints: Sheepshanks and the Etching Club |
|
|
91 | (10) |
|
Word and image, medium and message: the construction of meaning in the illustrated book |
|
|
101 | (8) |
|
Rural morality and Victorian society: the remaking of The Deserted Village |
|
|
109 | (8) |
|
Selling etching by subscription: the Etching Club and the early Victorian print market |
|
|
117 | (3) |
|
From book to frame: new strategies for selling etchings |
|
|
120 | (7) |
|
Etching from nature: urban texts and tourism |
|
|
127 | (40) |
|
Regulation and recreation: representing Victorian working-class London |
|
|
128 | (3) |
|
Crossing boundaries: slumming and the depiction of urban porverty in Whistler's Thames Set |
|
|
131 | (15) |
|
The reception of Whistler's Thames Set |
|
|
146 | (4) |
|
Haden's Etudes a l'eauforte: amateur practice and the autonom of the etched line |
|
|
150 | (17) |
|
Exhibition culture: the luxury commodity and the status of etching the late nineteenth century |
|
|
167 | (22) |
|
Etching and the exhibition in the 1870s |
|
|
168 | (6) |
|
Display and consumer culture: the exhibitions of the Society of Painter-Etchers 1881--1992 |
|
|
174 | (9) |
|
Commercial interests and the changing aims of the Society of Painter-Etchers |
|
|
183 | (6) |
| Appendix 1: List of Etching Club members |
|
189 | (2) |
| Appendix 2: List of subscribers to The Deserted Village, 1840--1876 |
|
191 | (4) |
| Appendix 3: Checklist of Etching Club publications, production prices and sales, 1841--1879 |
|
195 | (7) |
| Appendix 4: Statistics for Royal Society of Painter-Etchers exhibitions 1889--1892 |
|
202 | (3) |
| Glossary of printmaking terms |
|
205 | (6) |
| Notes |
|
211 | (64) |
| Bibliography |
|
275 | (13) |
| Index |
|
288 | |
Shopping Cart
