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Victorian Paintingis a comprehensive survey of one of the most fertile and varied eras in the history of painting. It embraces not just the United Kingdom, but also English-speaking countries linked to Britain by cultural ties of empire and emigration, such as the United States, Canada, Australia, New Zealand and Africa. Long regarded as a backwater of sentiment and outmoded academic convention that was bypassed by the mainstream of development in Western art, Victorian painting is now wholeheartedly enjoyed in its own right. Unfettered by old prejudices, Lionel Lambourne presents a vivid panorama of an age of unparalleled energy and creativity. Wealth, optimism, education and self-confidence created a huge demand for art, and a remarkable array of talent emerged to meet it. Producing works in a wide variety of styles, subjects and media, many artists became rich celebrities, while the profession as a whole enjoyed unprecedented public esteem. The author tackles this protean subject by dividing it into themes that reflect its richness and variety. Chapters are devoted to such topics as Mural/ History Painting, the Nude, the Portrait, Sporting Painting, Genre Scenes and Women Painters; and social themes such as the Fallen Woman, Social Realism, Travel and Emigration; as well as movements such as the Pre-Raphaelites. Written with a light touch, full of illuminating anecdotes, and with 600 color illustrations, Victorian Paintingis beautiful, highly entertaining and informative. It is also an invaluable reference work since, in addition to many famous and well-loved images, it presents a wealth of fine work by lesser-known artists, and explores the byways as well as highways of Victorian art, demonstrating the astounding range and depth of talent of the age.

The Victorian era and its aftermath were the backdrop to one of the great flowerings of British art. Taking the story of British art from the era of Romanticism to the formal and aesthetic breakthrough of Post-Impressionism, this book offers a definitive survey of the field.

Victorian narrative paintings offer a unique insight into the 19th century. The plight of women, the affects of the class system, and the onslaught of industry are all forced upon the attention of the viewer. Within each picture there is a story to uncover, either optimistic, educational, or tragic. Hugely popular in the Victorian period, the paintings tell much about how the Victorians viewed themselves and those whose "transgressive" practices threatened their respectability. An illustrated introduction decodes the conventions used in narrative painting, from literary and artistic allusions to the use of symbolism. The stories contained in works by William Holman Hunt, William Powell Frith, Richard Redgrave, John Everett Millais, and many others are uncovered in detailed examinations of their paintings.

The nineteenth century saw a marked rise both in the sheer numbers of women active in visual art professions and in the discursive concern for the woman artist in fiction, the periodical press, art history, and politics. The Woman Painter in Victorian Literature argues that Victorian women writers used the controversial figure of the woman painter to intervene in the discourse of aesthetics. These writers were able to assert their own status as artistic producers through the representation of female visual artists. Women painters posed a threat to the traditional heterosexual erotic art scenarios--a male artist and a male viewer admiring a woman or feminized art object. Antonia Losano traces an actual movement in history in which women writers struggled to rewrite the relations of gender and art to make a space for female artistic production. She examines as well the disruption female artists caused in the socioeconomic sphere. Losano offers close readings of a wide array of Victorian writers, particularly those works classified as noncanonical--by Anne Thackeray Ritchie, Margaret Oliphant, Anne Brontë, and Mrs. Humphrey Ward--and a new look at better-known novels such as Jane Eyre and Daniel Deronda, focusing on the pivotal social and aesthetic meanings of female artistic production in these texts. Each of the novels considered here is viewed as a contained, coherent, and complex aesthetic treatise that coalesces around the figure of the female painter.

Published to accompany exhibition held at The Royal Academy of Arts, London, 13/11/97 - 8/2/98.

When women were admitted to the Royal Academy Schools in 1860, female art students gained a foothold in the most conservative art institution in England. The Royal Female College of Art, the South Kensington Schools and the Slade School of Fine Art also produced increasing numbers of women artists. Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage. Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.

A provocative interdisciplinary study of the Victorian novel and Pre-Raphaelite art, this book offers a new understanding of Victorian novels through Pre-Raphaelite paintings. Concentrating on Elizabeth Gaskell, Wilkie Collins, George Eliot, and Thomas Hardy and aligning each novelist with specific painters, this work interprets narrative redrawings of Pre-Raphaelite paintings within a range of cultural contexts as well as alongside recent theoretical work on gender. Letters, reviews, and journals convincingly reinforce the contentions about the novels and their connection with paintings. Featuring color reproductions of Pre-Raphaelite paintings, this book reveals the great achievement of Pre-Raphaelite art and its impact on the Victorian novel. Arguing for the direct relationship between Pre-Raphaelite painting and the Victorian novel, this book fills a gap in the currently available literature devoted to the Victorian novel, the Pre-Raphaelites, and the connection of Pre-Raphaelite art to Victorian poetry. Visual readings of the Victorian novel channel the twenty-first-century readers' desire for the visual into the exploration of Pre-Raphaelite art in the Victorian novel, in the process offering fresh insights into the representation of gender in Victorian culture. Through a textual and a visual journey, this work reveals a new approach to the Victorian novel and Pre-Raphaelite art with profound implications for the study of both.

Looks at the experience of women painters within the oppressive confines of the Victorian patriarchy. Using biographies, journals and letters Cherry shows how their working lives were shaped by the social order of difference.

This book features new projects from Brenda Stewart, a favorite designer among today's decorative painting audience. Aimed at the "advanced beginner," this book features delicate Victorian designs and soft, pretty colors: elegant florals (roses, violets, daffodils), graceful still lifes, and old-fashioned Santas and angels. The projects are painted in acrylics and alkyds on wood, china plates, trays, boxes and other surfaces. Every project includes step-by-step illustrations, complete instructions, pattern, material list, color mixing recipes, and a gorgeous shot of the final project.