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Andrew Patrizio

’s notion that the “measure of progress” of a society was its degree of individuation and differentiation. Bookchin aligned himself with Read’s naturalistic conception of the unity achieved through the differentiation of the components of a whole: “ An expanding whole is created by the diversification and enrichment of its parts .”’ 30 Read’s anarchism Herbert Read was a familiar figure in British art history and criticism from the 1930s to his death in 1968. The span of his interests and contribution is captured in many places and is being increasingly

in The ecological eye
Abstract only
Art in the first industrial society
James Moore

, ‘The Authority of Art: Cultural Criticism and the Idea of the Royal Academy in Mid-Victorian Britain’, Art History, 20 (1997), 3–22. 62 For an overview see W. J. Bate, From Classic to Romantic: Premises of Taste in EighteenthCentury England (Cambridge, Mass., 1946). 63 I. Pears, The Discovery of Painting: The Growth of Interest in the Arts in England, 1680–1768 (London, 1988), esp. 1–26. 64 Cited in Pears, Discovery, 11–12. 65 Pears, Discovery, 15–16. 66 For recent comparative perspectives on these issues see C. Paul (ed.), The First Modern Museums of Art (Los

in High culture and tall chimneys
Justness and justice at home and abroad
Jeff Rosen

of the “National Portrait” in Victorian Britain’, Art History, 17:4 (1994), 523. 34 Ibid., 522. 35 Cameron, ‘Annals of My Glass House’, p. 137. 36 Quoted in Barlow, ‘The Imagined Hero as Incarnate Sign’, 522. 37 Carlyle’s familiarity with this dual status was revealed in an exchange with his wife Jane when she recognized her portrait in a shop window and recognized its status as index and as emblem: ‘The greatest testimony to your fame’, she wrote, ‘seems to me to be the fact that my photograph is stuck up in Macmichael’s window ... It proves the interest

in Julia Margaret Cameron’s ‘fancy subjects’
The moral life and the state
Jeff Rosen

: Whiggery, Religion, and Reform, 1830–1841 (Oxford: Clarendon Press, 1987); Jonathan Parry, The Politics of Patriotism: English Liberalism, National Identity and Europe, 1830–1886 (Cambridge: Cambridge University Press, 2006), esp. chapter 2; Adele M. Ernstrom, ‘“Why should we be always looking back?” “Christian art” in Nineteenth-century Historiography in Britain’, Art History, 22:3 (1999), 421–35. 14 Linda Colley, Britons: Forging the Nation, 1707–1837 (New Haven: Yale University Press, 1992). 15 Michaela Giebelhausen, Painting the Bible: Representation and Belief

in Julia Margaret Cameron’s ‘fancy subjects’