Brian Maidment – författare

Robert Seymour and Nineteenth-Century Print Culture is the first book-length study of the original illustrator of Dickens’s Pickwick Papers. Discussion of the range and importance of Seymour’s work as a jobbing illustrator in the 1820s and 1830s is at the centre of the book. A bibliographical study of his prolific output of illustrations in many different print genres is combined with a wide-ranging account of his major publications. Seymour’s extended work for The Comic Magazine, New Readings of Old Authors and Humorous Sketches, all described in detail, are of particular importance in locating the dialogue between image and text at the moment when the Victorian illustrated novel was coming into being.

Each chapter of this stimulating book collects a wide variety of images show the different ways that historical events can be represented. Metal and wood engravings, lithographs, woodcuts, etchings, watercolors, and drawings all reflect changing attitudes towards gender, politics, the family, education, and industrialization. This revised second edition has many new illustrations which further assist the interpretation of popular graphic images from the 18th and 19th centuries.

Examining the wide-ranging implications of Ruskin's engagement with his contemporaries and followers, this collection is organized around three related themes: Ruskin's intellectual legacy and the extent to which its address to working men and women and children was realised in practice; Ruskin's followers and their sites of influence, especially those related to the formation of collections, museums, archives and galleries representing values and ideas associated with Ruskin; and the extent to which Ruskin's work constructed a world-wide network of followers, movements and social gestures that acknowledge his authority and influence. As the introduction shows, Ruskin's continuing digital presence is striking and makes a case for Ruskin's persistent presence. The collection begins with essays on Ruskin's intellectual presence in nineteenth-century thought, with some emphasis on his interest in the education of women. This section is followed by one on Ruskin's followers from the mid-nineteenth century into twentieth-century modernism that looks at a broad range of cultural activities that sought to further, repudiate, or exemplify Ruskin's work and teaching. Working-class education, the Ruskinian periodical, plays, and science fiction are all considered along with the Bloomsbury Group's engagement with Ruskin's thought and writing. Essays on Ruskin abroad-in America, Australia, and India round out the collection.

Examining the wide-ranging implications of Ruskin''s engagement with his contemporaries and followers, this collection is organized around three related themes: Ruskin''s intellectual legacy and the extent to which its address to working men and women and children was realised in practice; Ruskin''s followers and their sites of influence, especially those related to the formation of collections, museums, archives and galleries representing values and ideas associated with Ruskin; and the extent to which Ruskin''s work constructed a world-wide network of followers, movements and social gestures that acknowledge his authority and influence. As the introduction shows, Ruskin''s continuing digital presence is striking and makes a case for Ruskin''s persistent presence. The collection begins with essays on Ruskin''s intellectual presence in nineteenth-century thought, with some emphasis on his interest in the education of women. This section is followed by one on Ruskin''s followers from the mid-nineteenth century into twentieth-century modernism that looks at a broad range of cultural activities that sought to further, repudiate, or exemplify Ruskin''s work and teaching. Working-class education, the Ruskinian periodical, plays, and science fiction are all considered along with the Bloomsbury Group''s engagement with Ruskin''s thought and writing. Essays on Ruskin abroad-in America, Australia, and India round out the collection.

Examining the wide-ranging implications of Ruskin''s engagement with his contemporaries and followers, this collection is organized around three related themes: Ruskin''s intellectual legacy and the extent to which its address to working men and women and children was realised in practice; Ruskin''s followers and their sites of influence, especially those related to the formation of collections, museums, archives and galleries representing values and ideas associated with Ruskin; and the extent to which Ruskin''s work constructed a world-wide network of followers, movements and social gestures that acknowledge his authority and influence. As the introduction shows, Ruskin''s continuing digital presence is striking and makes a case for Ruskin''s persistent presence. The collection begins with essays on Ruskin''s intellectual presence in nineteenth-century thought, with some emphasis on his interest in the education of women. This section is followed by one on Ruskin''s followers from the mid-nineteenth century into twentieth-century modernism that looks at a broad range of cultural activities that sought to further, repudiate, or exemplify Ruskin''s work and teaching. Working-class education, the Ruskinian periodical, plays, and science fiction are all considered along with the Bloomsbury Group''s engagement with Ruskin''s thought and writing. Essays on Ruskin abroad-in America, Australia, and India round out the collection.

Examining the wide-ranging implications of Ruskin's engagement with his contemporaries and followers, this collection is organized around three related themes: Ruskin's intellectual legacy and the extent to which its address to working men and women and children was realised in practice; Ruskin's followers and their sites of influence, especially those related to the formation of collections, museums, archives and galleries representing values and ideas associated with Ruskin; and the extent to which Ruskin's work constructed a world-wide network of followers, movements and social gestures that acknowledge his authority and influence. As the introduction shows, Ruskin's continuing digital presence is striking and makes a case for Ruskin's persistent presence. The collection begins with essays on Ruskin's intellectual presence in nineteenth-century thought, with some emphasis on his interest in the education of women. This section is followed by one on Ruskin's followers from the mid-nineteenth century into twentieth-century modernism that looks at a broad range of cultural activities that sought to further, repudiate, or exemplify Ruskin's work and teaching. Working-class education, the Ruskinian periodical, plays, and science fiction are all considered along with the Bloomsbury Group's engagement with Ruskin's thought and writing. Essays on Ruskin abroad-in America, Australia, and India round out the collection.

Robert Seymour and Nineteenth-Century Print Culture is the first book-length study of the original illustrator of Dickens’s Pickwick Papers. Discussion of the range and importance of Seymour’s work as a jobbing illustrator in the 1820s and 1830s is at the centre of the book. A bibliographical study of his prolific output of illustrations in many different print genres is combined with a wide-ranging account of his major publications. Seymour’s extended work for The Comic Magazine, New Readings of Old Authors and Humorous Sketches, all described in detail, are of particular importance in locating the dialogue between image and text at the moment when the Victorian illustrated novel was coming into being.

Offering an overview of the marketplace for comic images between 1820 and 1850, this book makes a case for the interest and importance of a largely neglected area of visual culture. It considers the impact on the development of print culture of the emergent, but soon widespread, use of lithography and wood engraving, both capable of integrating texts and images cheaply and imaginatively on the printed page. Drawing on a wide range of commercially produced print genres, including song books, play-texts, comic annuals and magazines as well as single plate and series of caricatures, this book traces the ways in which Regency and early Victorian visual humour both sustains some of the characteristics of an earlier caricature tradition while also beginning to develop new ways of analysing and coping with social change through comic forms and genres.