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Benezit Dictionary of British Graphic Artists and Illustrators
This dictionary consists of over 3000 entries on a range of British artists, from medieval manuscript illuminators to contemporary cartoonists. Its core is comprised of the entries focusing on British graphic artists and illustrators from the '2006 Benezit Dictionary of Artists' with an additional 90 revised and 60 new articles.
Autobiography
Harriet Martineau lived an extraordinary literary life. She became a reviewer and journalist in the 1820s when her family’s fortune collapsed; published a best-selling series, Illustrations of Political Economy (1832-34), that made her fame and fortune by the age of thirty; overcame a hearing disability to become a "literary lion" in London society; toured the United States and wrote two founding texts of sociology based on her experiences; explored north Africa and the Middle East to observe non-European societies; wrote "leaders" (editorials) on slavery for the London Daily News during the American Civil War; and commented publicly on matters of politics, history, and religion in an era when women supposedly maintained their place in the sphere of domesticity. This edition of her Autobiography reproduces the original 1877 text, which Martineau composed in 1855 and had printed in anticipation of her death. It includes illustrations of the author and her homes; excerpts from the "Memorials," added by her editor Maria Chapman; and reviews that praise and critique Martineau's method as an autobiographer and achievement as a Victorian woman of letters.
Who Made the Scottish Enlightenment?
The Scottish Enlightenment is often portrayed as elitist and Edinburgh based with no universally agreed beginning or end. Additionally, the Philosophers and scholars (the great Scottish Enlightenment figures) sometimes obscure significant contributions from other disciplines so that the achievements of a wider conception of the Scottish Enlightenment are not universally known. Sir Walter Scott also recognised that his nation 'the peculiar features of whose manners and character are daily melting and dissolving into that of her sister and ally' had an identity crisis. Both issues are addressed in this enquiry which seeks to highlight the scale and breadth of the Scottish Enlightenment whilst posing the question as to how Scottish identity can be preserved.
Nineteenth-Century Design
This is volume one in a four-volume edition of primary source materials that document the histories of design across the long nineteenth century. Each volume is arranged by appropriate sub-themes and it is the first set of primary sources to be gathered together in this comprehensive and accessible format. Design refers to more than simply products and personalities or even cultural ideas, it involves consideration of ways of design thinking and applications as well as the philosophies and the other disciplines that impinge upon it. Here, the first volume discusses the theories and discourses that underpinned nineteenth-century design, ranging from design reform to aesthetics, and from the question of ornament to design education. The volumes will be of interest to a range of scholars and students, including those in art and design history, visual culture, and nineteenth-century material culture. They will also be of interest to a broad range of scholars working in areas including aesthetics, gender, politics and philosophy.
Women in the Nineteenth-Century Art World
A historical perspective on current issues, such as gender and class, is applied to art education and rendered through the study of two specific institutions, the Female School of Design in London and the Philadelphia School of Design for Women. Sweeping generalizations are avoided as women's history, intertwined with men's, unfolds in two cities on opposite continents. Women's struggles against male domination and prejudice to define for themselves art education for work provides the common theme uniting the social issues explored. Through this unique examination of the relationship between the two schools, women's place in British and American art education is reclaimed. The specific focus on two art and design schools should appeal to social, education and art scholars and historians as well as to students and researchers interested in women's and gender studies. The relationship between the two schools of art and design has never been fully explored. This new study of women's art education, through the lens of these two schools, is particularly engaging and provoking in light of its male authorhip.
