Picturing reform in Victorian Britain / / Janice Carlisle [[electronic resource]]

• Record Nr.: UNINA9910823306503321
• Autore: Carlisle Janice
• Pubbl/distr/stampa: Cambridge : , : Cambridge University Press, , 2012
• ISBN: 1-139-69849-4; 1-139-86149-2; 1-139-86491-2; 1-139-87062-9; 1-139-03382-4; 1-139-86575-7; 1-139-86276-6
• Descrizione fisica: 1 online resource (xii, 272 pages) : digital, PDF file(s)
• Collana: Cambridge studies in nineteenth-century literature and culture ; ; 79
• Classificazione: LIT004120
• Disciplina: 704.9/49941081
• Soggetti: Suffrage in art; Painting, Victorian - Great Britain; Magazine illustration - Great Britain - 19th century; Art - Political aspects - Great Britain - History - 19th century; Art and society - Great Britain - History - 19th century
• Lingua di pubblicazione: Inglese
• Formato: Materiale a stampa
• Livello bibliografico: Monografia
• Note generali: Title from publisher's bibliographic system (viewed on 05 Oct 2015).
• Nota di contenuto: Introduction -- 1. Art as politics : lines in theory and practice -- 2. Pictures on display -- 3. Redrawing the franchise in the 1860s : lines around the Constitution -- 4. Within the pale -- Conclusion.
• Sommario/riassunto: How did Victorians, as creators and viewers of images, visualize the politics of franchise reform? This study of Victorian art and parliamentary politics, specifically in the 1840s and 1860s, answers that question by viewing the First and Second Reform Acts from the perspectives offered by Ruskin's political theories of art and Bagehot's visual theory of politics. Combining subjects and approaches characteristic of art history, political history, literary criticism and cultural critique, Picturing Reform in Victorian Britain treats both paintings and wood engravings, particularly those published in Punch ; and the Illustrated London News. Carlisle analyzes unlikely pairings - a novel by Trollope and a painting by Hayter, an engraving after Leech and a high-society portrait by Landseer - to argue that such conjunctions marked both everyday life in Victorian Britain and the nature of its visual politics as it was manifested in the myriad heterogeneous and often incongruous images of illustrated journalism.