Name: Victorian Photography, Painting: The Enigma of Visibility in Ruskin, Morris and the Pre-Raphaelites (Cambridge Studies in Nineteenth-Century Literature and Culture) (en Inglés)
SKU: 18958700
Price: 218.34 PEN
Availability: InStock
Author: Smith, Lindsay
ISBN: 9780521054683

portada Victorian Photography, Painting: The Enigma of Visibility in Ruskin, Morris and the Pre-Raphaelites (Cambridge Studies in Nineteenth-Century Literature and Culture) (en Inglés)

Victorian Photography, Painting: The Enigma of Visibility in Ruskin, Morris and the Pre-Raphaelites (Cambridge Studies in Nineteenth-Century Literature and Culture) (en Inglés)

Formato

Libro Físico

Autor

Lindsay Smith

Editorial

Cambridge University Press

Año

2008

Idioma

Inglés

N° páginas

264

Encuadernación

Tapa Blanda

Dimensiones

22.9x15.2x1.5 cm

Peso

0.39 kg.

ISBN

0521054680

ISBN13

9780521054683

Categorías

Irlanda
Reino unido
Literatura: historia y crítica

Victorian Photography, Painting: The Enigma of Visibility in Ruskin, Morris and the Pre-Raphaelites (Cambridge Studies in Nineteenth-Century Literature and Culture) (en Inglés)

Lindsay Smith (Autor) · Cambridge University Press · Tapa Blanda

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Reseña del libro "Victorian Photography, Painting: The Enigma of Visibility in Ruskin, Morris and the Pre-Raphaelites (Cambridge Studies in Nineteenth-Century Literature and Culture) (en Inglés)"

This book explores the intersections between Victorian literature, painting and photography. Taking as a starting point mid-nineteenth-century developments in the understanding of visual perception, Lindsay Smith examines the representation of a pervasive desire for a literal understanding of the process of seeing and perceiving. This is played out in the aesthetic theory of John Ruskin, the early poetry of William Morris, paintings of the Pre-Raphaelites, and in the photographic technique of combination printing. She demonstrates how the novel presence of the camera in nineteenth-century culture not only transforms acts of looking, but also affects major social, aesthetic and philosophical categories. By exploring the intricacies of photographic discourse she shows how Ruskin and Morris produce a critique of the earlier Cartesian perspectival model of vision.