Pictures-within-Pictures in Nineteenth-Century Britain
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19th century
A01=Catherine Roach
appropriation
Author_Catherine Roach
Bridgeman Images
Category=AGA
Category=WFA
cultural knowledge
Dido Building Carthage
Emma Brownlow King
England
eq_art-fashion-photography
eq_bestseller
eq_crafts-hobbies
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Foundling Hospital
Foundling Museum
Frith's Painting
Frith’s Painting
Getty's Open Content Program
Getty’s Open Content Program
Hogarth's Work
Hogarth’s Work
J.M.W. Turner
Johan Zoffany
John Everett Millais
John Scarlett Davis
Lawrence's Portrait
Lawrence’s Portrait
London
Lord Willoughby De Broke
Madonna Della Sedia
Manchester Art Treasures Exhibition
Manet's Portrait
Manet’s Portrait
Millais's Portrait
Millais's Work
Millais’s Portrait
Millais’s Work
North West Passage
painting
Picture Room
Private View
repainting
reuse
Royal Academy
Royal Academy Exhibition
Sleeping Model
Turner's Landscapes
Turner's Paintings
Turner's Watercolor
Turner’s Landscapes
Turner’s Paintings
Turner’s Watercolor
United Kingdom
Van Dycks
William Powell Frith
Product details
- ISBN 9781138353091
- Weight: 510g
- Dimensions: 174 x 246mm
- Publication Date: 05 Oct 2018
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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Repainting the work of another into one’s own canvas is a deliberate and often highly fraught act of reuse. This book examines the creation, display, and reception of such images. Artists working in nineteenth-century London were in a peculiar position: based in an imperial metropole, yet undervalued by their competitors in continental Europe. Many claimed that Britain had yet to produce a viable national school of art. Using pictures-within-pictures, British painters challenged these claims and asserted their role in an ongoing visual tradition. By transforming pre-existing works of art, they also asserted their own painterly abilities. Recognizing these statements provided viewers with pleasure, in the form of a witty visual puzzle solved, and with prestige, in the form of cultural knowledge demonstrated. At stake for both artist and audience in such exchanges was status: the status of the painter relative to other artists, and the status of the viewer relative to other audience members. By considering these issues, this book demonstrates a new approach to images of historic displays. Through examinations of works by J.M.W. Turner, John Everett Millais, John Scarlett Davis, Emma Brownlow King, and William Powell Frith, this book reveals how these small passages of paint conveyed both personal and national meanings.
Catherine Roach is an Assistant Professor of Art History at Virginia Commonwealth University.
