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Sam Rohdie

Portraiture The ‘author–auteur’ appears in the disjunctions and hiatuses not as the artist who creates the complete work but rather in the formula of Godard, ‘the work and the idea of the work’, ‘the work and the theory of the work’, the presence of the author as critic and as reflecting on the work and its processes, questioning what the work is and so completely as to efface the author – in the tradition of the Nouvelle Vague. In the Poe story as related by the young man to Anna Karina, in Godard’s Vivre sa vie (1962), the portrait takes life as it ebbs away

in Film modernism
An Introductory Survey
Richard Sharp

Architecture and visual arts in general have been subjects of a growing body of recent scholarship connected with the ecclesiastical history of the ‘Long Eighteenth Century’, but little attention has been given to portraiture. Although honourable mention should be made of pioneering work by John Ingamells on painted episcopal portraits, and by Peter Forsaith, very recently, on Methodist portrait prints, other aspects of this extensive subject still await investigation. The article outlines the development of engraved portrayal of clergy, mainly of the Church of England, during the two centuries before production of multiple images was taken over by photography, and indicates how the quantity, variety, and dissemination of such material can provide some index of the priorities of a pre-photographic age. It does not aim to be a comprehensive or a complete survey of the corpus of engraved portraiture; nevertheless, this article provides an initial guide to the abundance of previously unexplored illustrative material, and may suggest a framework for further exploration. It is hoped that future scholars will build on this initial work to enable a complete catalogue of such images to be developed and further explored.

Bulletin of the John Rylands Library
The Crystal Palace portrait gallery, c.1854
Jason Edwards

3 The cosmopolitan world of Victorian portraiture: the Crystal Palace portrait gallery, c.1854 Jason Edwards This chapter returns to centre stage the 500 plaster cast portraits, ranging from Homer to Queen Victoria, comprising the Crystal Palace portrait gallery, that ran alongside the better-known, more widely discussed Fine Arts Courts. It considers the portraits as a microcosm of the Palace project, and develops ‘close’ and ‘distant’ readings of Samuel Phillips’s official 1854 guide.1 Countering myopic, insular interpretations of Sydenham as a provincial

in After 1851
Henry Miller

2 Party politics and portraiture, 1832–46 This chapter shows how visual images personified and reaffirmed the party identities that were formed in the wake of the 1832 Reform Act. By examining the semi-official portrait series that were published in this period, this chapter highlights the innovative new ways in which party identities were presented after 1832. These broke new ground by exploiting steel engraving, which greatly increased the number of prints that could be produced, to appeal to supporters of the rival Conservative and Reform parties. A study of

in Politics personified
Mourning and Melancholia in Female Gothic, 1780–1800
Angela Wright

Wright explores how novels by Eliza Fenwick, Sophia Lee, Maria Roche, and Ann Radcliffe critique, via their fascination with portraiture, eighteenth-century consumerism. Wright argues that this engagement with image-making indicates late eighteenth century concerns with fashion, opulence and consumerism which become relocated in women‘s Gothic writing through the correlated issues of female insanity, desire and loss.

Gothic Studies
Artists’ Printed Portraits and Manuscript Biographies in Rylands English MS 60
Edward Wouk

Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art.

Bulletin of the John Rylands Library
Legacies and departures

This volume challenges a traditional period divide of 1660, exploring continuities with the decades of civil war, the Republic and Restoration and shedding new light on religious, political and cultural conditions before and after the restoration of church and monarchy. The volume marks a significant development in transdisciplinary studies, including, as it does, chapters on political theory, religion, poetry, pamphlets, theatre, opera, portraiture, scientific experiment and philosophy. Chapters show how unresolved issues at national and local level, residual republicanism and religious dissent, were evident in many areas of Restoration life, and recorded in plots against the regime, memoirs, diaries, historical writing, pamphlets and poems. An active promotion of forgetting, the erasing of memories of the Republic and the reconstruction of the old order did not mend the political, religious and cultural divisions that had opened up during the civil wars. In examining such diverse genres as women’s writing, the prayer book, prophetic writings, the publications of the Royal Society, histories of the civil wars by Clarendon and Hobbes, the poetry and prose of Milton and Marvell, plays and opera, court portraiture and political cartoons the volume substantiates its central claim that the Restoration was conditioned by continuity and adaptation of linguistic and artistic discourses.

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The material and visual culture of the Stuart Courts, 1589–1619

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.

From caricature to portraiture
Henry Miller

3 Radical visual culture: from caricature to portraiture The previous chapter highlighted the importance of portraiture for shaping the identities of the political parties formed in the wake of the 1832 Reform Act. However, it was radicals who were consistently the most innovative in their exploitation of new visual technologies. This was no coincidence. Portraiture was even more valuable to radical movements, which frequently experienced media indifference or hostility. To counter this, radicals produced their own series to project their own self-image to

in Politics personified
Luxury, portraiture and the court of Charles II
Laura L. Knoppers

267 Chapter 13 The French connection: luxury, portraiture and the court of Charles II Laura L. Knoppers W hen, writing in 1660, John Milton made a frantic, last-​minute attempt to stave off the seemingly inevitable return of kingship to England, he contrasted the virtues of a commonwealth, ‘wherein they who are greatest are perpetual servants and drudges to the public at thir own cost and charges’, with a king who ‘must be adored like a demigod, with a dissolute and haughty court about him, of vast expense and luxury’.1 If attacks on luxury had marked

in From Republic to Restoration