Stevens The wood engravers' self-portrait

The Dalziel Archive and Victorian illustration
1. Auflage 2022
ISBN: 978-1-5261-5667-9
Verlag: De Gruyter
Format: PDF
Kopierschutz: PC/MAC/eReader/Tablet

E-Book, Englisch, 408 Seiten

The first major study of Dalziel Brothers, a Victorian image-making firm that made a phenomenal contribution to mass visual culture.

Autoren/Hrsg.

Stevens, Bethan

Fachgebiete

• Geisteswissenschaften Literaturwissenschaft Literatur: Sammlungen, Anthologien
• Geisteswissenschaften Design Typographie, Illustrationskunst, Werbegraphik
• Geisteswissenschaften Literaturwissenschaft Englische Literatur
• Geisteswissenschaften Literaturwissenschaft Literarische Strömungen & Epochen
• Geisteswissenschaften Sprachwissenschaft Sprachwissenschaften Semiotik

Inhaltsverzeichnis

Introduction Approaching engravings: medium and the parasite
1 A wordless memoir: the illustrator as archivist

Part I The Dalziel family and their ‘woodpecker’ employees, 1839-1893
2 ‘The print of [her] feet’ (Wordsworth): the wood engravers’ self portrait
3 Ruskin’s sinisterity: disjointed hands and brains, and the division of art labour
4 Barnaby Rudge and ‘the atmosphere of letters’ (Craik): apprenticeship, education and employment
5 Ghostwriting the line of the other: Wilkie Collins’s After Dark, and Dalziel’s freelance engravers
6 ‘This midnight forger’ (Trollope): signatures, authorship, and relations between engravers and draughtspeople

Part II Medium and technique at Dalziel Brothers
7 ‘Off with her head!’ (Carroll): execution, technical violence, and the discipline of visual culture
8 ‘These many ingenious adaptations of photography’ (Dalziel): photography and wood engraving, from Eadweard Muybridge to Julia Margaret Cameron
9 ‘A peculiar brilliancy of black’ (DeVinne): the colour of monochrome, and Thomas Dalziel’s The May Queen
10 Speed, print, news

Conclusion
11 Greedy rats

Über Autor(innen)

Bethan Stevens is a Senior Lecturer in English and Creative & Critical Writing at the University of Sussex