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Bulletin of the John Rylands Library
Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

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The material and visual culture of the Stuart Courts, 1589–1619
Author: Jemma Field

This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.

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Mass photography, monarchy and the making of colonial subjects
Susie Protschky

per se , that defined this development. The present-day status of European monarchies such as the Dutch royal family as a popular – perhaps even popul ist – institution therefore has its origins in the early twentieth century, when ‘family photography’ emerged as a mode of connecting royals with their subjects at ‘home’, in the colonies as well as the metropole. Royal celebrations in colonial family albums During Wilhelmina's reign, the annual koninginnedag (Queen's Day) festivities went from 29 August to 6 September, and

in Photographic subjects
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Photographic encounters between Dutch and Indonesian royals
Susie Protschky

rulers to their Dutch recipients. Presenting as moderns: concessions and agency in photographic gifts from Central Java's kings Even if by proxy rather than in person, Pakubuwono X and Pakualam VII conceded to presenting themselves to the Dutch monarchy in photographic form to mark royal occasions. The visual economy in which portraits of Central Javanese kings and princes circulated was fundamentally different from that of the Dutch royal family, and not for technological reasons. While the rulers of Central Java inhabited the

in Photographic subjects
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J.W.M. Hichberger

working at the time in the home of Robert Loyd-Lindsay, equerry to the Prince of Wales. Loyd-Lindsay had been one of the first men to be awarded the Victoria Cross, for saving his regimental colours at the battle of the Alma. 20 The financing of so large a project as a series of fifty pictures is not clear, but it seems likely that Desanges hoped for patronage either from the state or from the royal family. In view of the

in Images of the army
The cases of Kaihara and Japan Blue, 1970–2015
Rika Fujioka and Ben Wubs

more fashionable styles. Manufacturers strive to develop new fabrics, stitching techniques, and textiles, and kimono fashion is very different from fashion in the West. At the time of the Meiji Restoration in 1868, however, Japan started to turn its back on the kimono as part of a general movement towards Westernization. The nation began to emulate Western practices in education, land tax systems, and conscription. In 1872, the Japanese government announced that the royal family and government officers should wear Western-style, formal regal attire at ceremonies

in European fashion
Romance and the cash nexus at the Great Exhibition
Jo Briggs

good authority that: a number of leading men in Liverpool are seriously contemplating a scheme of secession from the whole complicated machinery of the oppressive Government in London. The scheme embraces the idea of a New Republic, of which Liverpool, Lancashire, and Principality of Wales are to constitute the ‘nucleus’ while the ‘City of London contains a population of 50,000 of similar materials to the mob who stormed the Tuileries and carried off the Royal family to prison and execution’.24 In its response, The Times specifically invoked 10 April 1848, ‘when it

in Novelty fair
John M. MacKenzie

durbars of 1903 and 1911. All of these took place on the Ridge at Delhi, a place of symbolic significance after the events of the 1857 Revolt. These durbars featured vast tented encampments. It was said that in 1903, 250,000 people were accommodated in around 80,000 and 100,000 tents (so many that an accurate count was apparently impossible).37 These were arranged in a strict hierarchy from the Viceroy, members of European royal families, down to hotel tents organised for 400 visitors. It was said that Curzon’s camp had 1,400 tents and his personal quarters had a

in The British Empire through buildings
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Anna Dahlgren

), which was produced in several European countries from the mid-nineteenth century onwards. The technique was patented by the French photographer André Adolphe Eugène Disdéri in 1863 and the cards were compositions of photographs of heads of the members of royal families, politicians or other members of high society.12 The main purpose of these collages was to include a larger number of portraits on the same card – such portrait-mosaics might typically consist of between twenty and hundred portraits. In his patent application Disdéri argued that with this technique one

in Travelling images