The death of the victorian art periodical

Visual Resources

Volumn 26, Issue 3, 2010, Pages 242-253

  Helmreich, Anne ^a  

^a NONE

Author keywords

Art Market; Commercial Art Dealer; Exhibition Culture; Little Magazine; Periodical; Prints; Reproductions

Indexed keywords

EID: 79952877217     PISSN: 01973762     EISSN: None     Source Type: Journal    
DOI: 10.1080/01973762.2010.499646     Document Type: Article

References (45)

1. Helene Roberts, "Exhibition and Review: The Periodical Press and the Victorian Art Exhibition System," in The Victorian Periodical Press: Samplings and Soundings, ed. Joanne Shattock and Michael Wolff (Toronto: University of Toronto Press, 1982), 105.
2. Roberts, "Exhibition and Review," 80.
3. Mark S. Morrisson, The Public Face of Modernism: Little Magazines, Audiences and Reception, 1905-1920 (Madison: University of Wisconsin Press, 2001).
4. David H. Solkin, "'The Exhibition,'" in Art on the Line: The Royal Academy Exhibitions at Somerset House, 1780-1836, ed. David Solkin, exh. cat. (New Haven and London: The Paul Mellon Centre for Studies in British Art and the Courtauld Institute Gallery, 2001), xi.
5. Mark Hallett, "'The Business of Criticism': The Press and the Royal Academy Exhibition in Eighteenth-century London," in Solkin, Art on the Line, 65.
6. Sarah Hyde, "Printmakers and the Royal Academy Exhibitions, 1780-1836," in Solkin, Art on the Line, 224.
7. Nicholas Green, "Circuits of Production, Circuits of Consumption: The Case of Mid-Nineteenth-century Art French Dealing," Art Journal 48 (Spring 1989): 30.
8. A good resource for artists' suppliers is found via the National Portrait Gallery, London, http://www.npg.org.uk/research/programmes/directory-of- suppliers (accessed 5 March 2010).
9. Brenda Rix, "Prints: Spreading the Word," in Holman Hunt and the Pre-Raphaelite Vision, ed. Katharine Lochnan and Carol Jacobi (Toronto: Art Gallery of Ontario, 2008), 184.
10. Malcolm Warner, "The Professional Career of John Everett Millais to 1863, with a Catalogue of Works to the Same Date" (PhD diss., Courtauld Institute of Art, University of London, 1985), 134.
11. For this point as well as the emergence of the French Gallery and its impact on the changing configurations of the nineteenth-century art world, see Pamela Fletcher, "Creating the French Gallery: Ernest Gambart and the Rise of the Commercial Art Gallery in Mid-Victorian London," Nineteenth-century Art Worldwide (Spring 2007), http://www.19thc-artworldwide.org/index.php?option= com-content&view=article &id=143:creating-the-french-gallery-ernest- gambart-and-the-rise-of-the-commercial -art-gallery-in-mid-victorian- london&catid=46:spring07article (accessed 5 March 2010).
12. The Art Journal lasted until 1912. For more information on some of these titles, see Julie Codell, "The Fine Arts Quarterly Review and Art Politics in the 1860s," Victorian Periodicals Review 23 (Fall 1990): 91-96;
13. Julie Codell, "Moderate Praise: The Contribution to Art Criticism of The Portfolio," Victorian Periodicals Review 20 (Fall 1987): 83-92;
14. Julie Codell, "Marion Harry Spielmann and the Role of the Press in the Professionalization of Artists," Victorian Periodicals Review 22 (Spring 1989): 7-15;
15. Debra Mancoff, "Samuel Carter Hall: Publisher as Promoter of the High Arts," Victorian Periodicals Review 24 (Spring 1991): 11-21.
16. "The Art Journal," Art Journal, n.s., 24 (1 December 1862): 229.
17. Martha Tedeschi, "How Prints Work: Reproductions, Originals and Their Markets in England, 1840-1900" (PhD diss., Northwestern University, December 1994), 13.
18. "The Art Journal," Art Journal, n.s., 1 (1 January 1855): 1.
19. Art Journal (London: Virtue and Co., 1906), 4, 10, 27
20. "Mr. Whistler's Paintings in Oil," Art Journal, n.s., 55 (1893): 93.
21. Julie Codell, "The Artist's Cause at Heart: Marion Harry Spielmann and the Late Victorian Art World," Bulletin of the John Rylands University Library of Manchester 71 (1989): 157.
22. Pamela Fletcher and Anne Helmreich, "The Periodical and the Art Market: Investigating the 'Dealer-Critic System' in Victorian England," Victorian Periodicals Review 41 (Winter 2008): 344.
23. Shearer West, "Tom Taylor, William Powell Frith, and the British School of Art," Victorian Studies (Winter 1990): 316.
24. Martha Tedeschi, "'Where the Picture Cannot Go, the Engravings Penetrate': Prints and the Victorian Art Market," in Objects of Desire, Victorian Art at the Art Institute of Chicago, a special issue of Museum Studies 31 (2005): 18.
25. Julie Codell, "Artists' Professional Societies: Production, Consumption, and Aesthetics," in Towards a Modern Art World, Studies in British Art I, ed. Brian T. Allen (New Haven, CT: Yale University Press, 1995), 170.
26. "The Art Journal," printed announcement, 1893 [page 2].
27. See Julie Codell, The Victorian Artist: Artists' Lifewritings in Britain, ca. 1870-1910 (Cambridge: Cambridge University Press, 2003).
28. Kate Flint, "Moral Judgement and the Language of English Art Criticism 1870-1910," Oxford Art Journal 6 (1983): 64.
29. Suzanne W. Churchill and Adam McKible, "Introduction," in Little Magazines and Modernism, New Approaches, ed. Suzanne W. Churchill and Adam McKible (Aldershot: Ashgate, 2007), 6.
30. "Art and Letters," Art and Letters 1 (July 1917): 1.
31. Wyndham Lewis, Blast 1 (1914): 4, 16, 21.
32. George Clausen to David Croal Thomson, 31 January 1895, Sir George Clausen Correspondence, National Art Library. Victoria and Albert Museum, 86.YY.19.
33. "Editorial, The Function of Criticism," Art News 7 (July 1910): 248.
34. Robert Scholes, Paradoxy of Modernism (New Haven, CT: Yale University Press, 2006), 34.
35. "Aims and Ideals," Rhythm 1 (Summer 1911): 36.
36. George Clausen to M. H. Spielmann, 29 June 1904, John Rylands Library, University of Manchester, MS 1302.
37. Holbrooke Jackson, "A Plea for Revolt on Attitude," Rhythm 1 (Winter 1911): 6, 10.
38. Jackson, "A Plea," 8.
39. Morrisson, The Public Face of Modernism, 5, 9.
40. Morrisson, The Public Face of Modernism, 10.
41. Faith Binckes, "Lines of Engagement: Rhythm, Reproduction, and the Textual Dialogues of Early Modernism," in Little Magazines & Modernism (see note 29), 29.
42. Binckes, "Lines of Engagement," 26.
43. For more on the relationship of Studio to the art market, see the forthcoming essay by Ysanne Holt, "'The Call of Commerce': The Studio magazine in the 1920s" in The Rise of the London Art Market, ed. Pamela Fletcher and Anne Helmreich (Manchester: Manchester University Press, forthcoming).
44. Colour 5 (January 1917): ix.
45. Colour 19 (May 1925): 22. My thanks to Ysanne Holt for drawing attention to this quotation.