- Published in print:
- 2010
- Published Online:
- June 2013
- ISBN:
- 9780804768740
- eISBN:
- 9780804776233
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804768740.003.0001
- Subject:
- Literature, American, 19th Century Literature
This book reconsiders a significant portion of Henry James's oeuvre in light of the explosive growth of the periodicals industry in Europe and the United States in the late nineteenth century. The ...
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This book reconsiders a significant portion of Henry James's oeuvre in light of the explosive growth of the periodicals industry in Europe and the United States in the late nineteenth century. The technology-driven “magazine revolution” during this period was a pivotal moment in the history of publishing and had far-reaching consequences not only for the future of print culture, but also for the practice of authorship. This book looks at how various elements of the contemporary publishing milieu exerted pressure on James's production, particularly its composition, themes, and reception. By way of introduction, this chapter focuses on the rise of illustrated magazines in the United States and other countries and its impact on the reading public and the writing profession in the second half of the nineteenth century. It begins by considering the formative influence of popular print culture on James's earliest memories. It then shows how public discourse on the evolution of American illustration came to be framed within a larger narrative of national progress.Less
This book reconsiders a significant portion of Henry James's oeuvre in light of the explosive growth of the periodicals industry in Europe and the United States in the late nineteenth century. The technology-driven “magazine revolution” during this period was a pivotal moment in the history of publishing and had far-reaching consequences not only for the future of print culture, but also for the practice of authorship. This book looks at how various elements of the contemporary publishing milieu exerted pressure on James's production, particularly its composition, themes, and reception. By way of introduction, this chapter focuses on the rise of illustrated magazines in the United States and other countries and its impact on the reading public and the writing profession in the second half of the nineteenth century. It begins by considering the formative influence of popular print culture on James's earliest memories. It then shows how public discourse on the evolution of American illustration came to be framed within a larger narrative of national progress.
Cynthia Lee Patterson
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604737363
- eISBN:
- 9781621031185
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604737363.001.0001
- Subject:
- History, American History: 19th Century
How did the average American learn about art in the mid-nineteenth century? With public art museums still in their infancy, and few cities and towns large enough to support art galleries or print ...
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How did the average American learn about art in the mid-nineteenth century? With public art museums still in their infancy, and few cities and towns large enough to support art galleries or print shops, Americans relied on mass-circulated illustrated magazines. One group of magazines in particular, known collectively as the Philadelphia pictorials, circulated fine art engravings of paintings, some produced exclusively for circulation in these monthlies, to an eager middle-class reading audience. These magazines achieved print circulations far exceeding those of other print media (such as illustrated gift books, or catalogs from art-union membership organizations). Godey’s, Graham’s, Peterson’s, Miss Leslie’s, and Sartain’s Union Magazine included two to three fine art engravings monthly, “tipped in” to the fronts of the magazines, and designed for pull-out and display. Featuring the work of a fledgling group of American artists who chose American rather than European themes for their paintings, these magazines were crucial to the distribution of American art beyond the purview of the East Coast elite to a widespread middle-class audience. Contributions to these magazines enabled many an American artist and engraver to earn, for the first time in the young nation’s history, a modest living through art. This book examines the economics of artistic production, innovative engraving techniques, regional imitators, the textual “illustrations” accompanying engravings, and the principal artists and engravers contributing to these magazines.Less
How did the average American learn about art in the mid-nineteenth century? With public art museums still in their infancy, and few cities and towns large enough to support art galleries or print shops, Americans relied on mass-circulated illustrated magazines. One group of magazines in particular, known collectively as the Philadelphia pictorials, circulated fine art engravings of paintings, some produced exclusively for circulation in these monthlies, to an eager middle-class reading audience. These magazines achieved print circulations far exceeding those of other print media (such as illustrated gift books, or catalogs from art-union membership organizations). Godey’s, Graham’s, Peterson’s, Miss Leslie’s, and Sartain’s Union Magazine included two to three fine art engravings monthly, “tipped in” to the fronts of the magazines, and designed for pull-out and display. Featuring the work of a fledgling group of American artists who chose American rather than European themes for their paintings, these magazines were crucial to the distribution of American art beyond the purview of the East Coast elite to a widespread middle-class audience. Contributions to these magazines enabled many an American artist and engraver to earn, for the first time in the young nation’s history, a modest living through art. This book examines the economics of artistic production, innovative engraving techniques, regional imitators, the textual “illustrations” accompanying engravings, and the principal artists and engravers contributing to these magazines.
- Published in print:
- 2010
- Published Online:
- June 2013
- ISBN:
- 9780804768740
- eISBN:
- 9780804776233
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804768740.003.0005
- Subject:
- Literature, American, 19th Century Literature
In the decades after the Civil War, European travel emerged as an important part of modern American life, and noted authors published numerous travel articles in upscale periodicals. Henry James ...
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In the decades after the Civil War, European travel emerged as an important part of modern American life, and noted authors published numerous travel articles in upscale periodicals. Henry James regularly wrote travel pieces during the 1870s and 1880s not only as a form of subsidized research for his stories and novels, but also as a means to cultivate a wider and more receptive audience for his oeuvre. He collected dozens of these articles in a series of travel books on England, France, and Italy, collaborating with Joseph Pennell (1857–1926) for the illustrations. This chapter discusses James's contributions to the modern travelogue, a literary genre whose development can be attributed in large part to the success of the illustrated magazines. It also examines the significance of James's project for repackaging his travel writing and Pennell's role in that work.Less
In the decades after the Civil War, European travel emerged as an important part of modern American life, and noted authors published numerous travel articles in upscale periodicals. Henry James regularly wrote travel pieces during the 1870s and 1880s not only as a form of subsidized research for his stories and novels, but also as a means to cultivate a wider and more receptive audience for his oeuvre. He collected dozens of these articles in a series of travel books on England, France, and Italy, collaborating with Joseph Pennell (1857–1926) for the illustrations. This chapter discusses James's contributions to the modern travelogue, a literary genre whose development can be attributed in large part to the success of the illustrated magazines. It also examines the significance of James's project for repackaging his travel writing and Pennell's role in that work.
- Published in print:
- 2010
- Published Online:
- June 2013
- ISBN:
- 9780804768740
- eISBN:
- 9780804776233
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804768740.003.0004
- Subject:
- Literature, American, 19th Century Literature
This chapter deals with the analytic techniques used by Henry James to appraise modern illustration in a series of essays he wrote on some of its best-known practitioners. James contributed catalogue ...
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This chapter deals with the analytic techniques used by Henry James to appraise modern illustration in a series of essays he wrote on some of its best-known practitioners. James contributed catalogue notes for several illustrators' exhibitions, devoted one of his “American Letters” for the periodical Literature to a discussion of illustrated magazines, wrote essays on illustrators for Harper's, and published lengthy appreciations of George Du Maurier's work. This chapter looks at the sketches of contemporary illustrators prepared by James for Harper's New Monthly and Harper's Weekly between 1886 and 1890 and republished in 1893 in slightly revised form, along with his essays on Honoré Daumier and John Singer Sargent, under the title Picture and Text. It examines why James commemorated at length the achievements of modern illustration in the essays he produced for Harper's, first by discussing his relationship to the Harper organization and then by assessing his critical methodology in the essays.Less
This chapter deals with the analytic techniques used by Henry James to appraise modern illustration in a series of essays he wrote on some of its best-known practitioners. James contributed catalogue notes for several illustrators' exhibitions, devoted one of his “American Letters” for the periodical Literature to a discussion of illustrated magazines, wrote essays on illustrators for Harper's, and published lengthy appreciations of George Du Maurier's work. This chapter looks at the sketches of contemporary illustrators prepared by James for Harper's New Monthly and Harper's Weekly between 1886 and 1890 and republished in 1893 in slightly revised form, along with his essays on Honoré Daumier and John Singer Sargent, under the title Picture and Text. It examines why James commemorated at length the achievements of modern illustration in the essays he produced for Harper's, first by discussing his relationship to the Harper organization and then by assessing his critical methodology in the essays.
John A. Crespi
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9789888528011
- eISBN:
- 9789882204508
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888528011.003.0008
- Subject:
- Society and Culture, Cultural Studies
“Propaganda, Play, and the Pictorial Turn” re-visits the early Peoples Republic of China cartoon by contextualizing this form of popular art within the media ecology of the illustrated magazine. ...
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“Propaganda, Play, and the Pictorial Turn” re-visits the early Peoples Republic of China cartoon by contextualizing this form of popular art within the media ecology of the illustrated magazine. Focusing on the first several years (1950-1952) of the satire pictorial Cartoon, the essay questions the tendency to read early Mao-era cartoon art strictly in terms of Cold War binaries, arguing instead for attention to cartoons as just one among many dynamically interrelated, heterogeneric elements comprising the print genre of the illustrated magazine or huabao. Cartoon is to a significant extent a lineal descendent of Republican-era, Shanghai-based huabao whose varied imagetext contents encouraged forms of spectatorship historically linked to practices of urban consumerist play. The primary concern for the artists and editors of Cartoon, then, was adapting this existing visual technology of print to promote active forms of socialist play aligned with the political and educational goals of mass mobilization.Less
“Propaganda, Play, and the Pictorial Turn” re-visits the early Peoples Republic of China cartoon by contextualizing this form of popular art within the media ecology of the illustrated magazine. Focusing on the first several years (1950-1952) of the satire pictorial Cartoon, the essay questions the tendency to read early Mao-era cartoon art strictly in terms of Cold War binaries, arguing instead for attention to cartoons as just one among many dynamically interrelated, heterogeneric elements comprising the print genre of the illustrated magazine or huabao. Cartoon is to a significant extent a lineal descendent of Republican-era, Shanghai-based huabao whose varied imagetext contents encouraged forms of spectatorship historically linked to practices of urban consumerist play. The primary concern for the artists and editors of Cartoon, then, was adapting this existing visual technology of print to promote active forms of socialist play aligned with the political and educational goals of mass mobilization.
Cynthia Lee Patterson
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604737363
- eISBN:
- 9781621031185
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604737363.003.0008
- Subject:
- History, American History: 19th Century
This chapter discusses the rise of lithographic art print companies such as Goupil, Vibert and Co. and Currier and Ives in the 1850s, which eclipsed the prominence of illustrated magazines in ...
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This chapter discusses the rise of lithographic art print companies such as Goupil, Vibert and Co. and Currier and Ives in the 1850s, which eclipsed the prominence of illustrated magazines in Philadelphia. Lithographic prints were cheaper and easier to produce, and with the artists working for both Goupil, Vibert and Co. and Currier and Ives, the American public started to shift their focus toward art prints. Both Graham’s Lady’s and Gentleman’s Magazine and Sartain’s Union Magazine ended in the 1850s. Godey’s Lady’s Book and Peterson’s Magazine continued to thrive, as they continued to publish high quality literature and they kept a loyal readership.Less
This chapter discusses the rise of lithographic art print companies such as Goupil, Vibert and Co. and Currier and Ives in the 1850s, which eclipsed the prominence of illustrated magazines in Philadelphia. Lithographic prints were cheaper and easier to produce, and with the artists working for both Goupil, Vibert and Co. and Currier and Ives, the American public started to shift their focus toward art prints. Both Graham’s Lady’s and Gentleman’s Magazine and Sartain’s Union Magazine ended in the 1850s. Godey’s Lady’s Book and Peterson’s Magazine continued to thrive, as they continued to publish high quality literature and they kept a loyal readership.
Jean-Paul Gabilliet
- Published in print:
- 2009
- Published Online:
- March 2014
- ISBN:
- 9781604732672
- eISBN:
- 9781621039860
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604732672.003.0003
- Subject:
- Literature, Comics Studies
During World War II, the American comic book industry continued to experience growth as the number of titles proliferated. In addition, contents became increasingly diverse and recurring characters ...
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During World War II, the American comic book industry continued to experience growth as the number of titles proliferated. In addition, contents became increasingly diverse and recurring characters multiplied in comic magazines. Comic books gave rise to an industry that became a source of considerable revenue and acknowledged by the public to be different from newspaper comics and pulp magazines. The increase in household income, coupled with reduced availability of consumer durables, provided the impetus for comic books and all forms of mass entertainment. The war also witnessed the emergence of illustrated magazines, which benefited from the momentum gathered by the nascent industry before the war. This chapter examines the status of the comic book industry during World War II, its competition with newspapers, and the publishing of comic books that targeted preadolescent readers by injecting them with juvenile characters and humor. It also looks at the rise of educational comic books based on history and literature.Less
During World War II, the American comic book industry continued to experience growth as the number of titles proliferated. In addition, contents became increasingly diverse and recurring characters multiplied in comic magazines. Comic books gave rise to an industry that became a source of considerable revenue and acknowledged by the public to be different from newspaper comics and pulp magazines. The increase in household income, coupled with reduced availability of consumer durables, provided the impetus for comic books and all forms of mass entertainment. The war also witnessed the emergence of illustrated magazines, which benefited from the momentum gathered by the nascent industry before the war. This chapter examines the status of the comic book industry during World War II, its competition with newspapers, and the publishing of comic books that targeted preadolescent readers by injecting them with juvenile characters and humor. It also looks at the rise of educational comic books based on history and literature.
Bonnie Effros
- Published in print:
- 2012
- Published Online:
- March 2015
- ISBN:
- 9780199696710
- eISBN:
- 9780191804885
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199696710.003.0008
- Subject:
- History, Ancient History / Archaeology
This chapter examines public reception of archaeological finds from the Merovingian period in nineteenth-century France. More specifically, it looks at the publication of news of archaeological ...
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This chapter examines public reception of archaeological finds from the Merovingian period in nineteenth-century France. More specifically, it looks at the publication of news of archaeological discoveries and advances in research in newspapers and illustrated magazines, and whether such news reached a contemporary readership beyond the members of archaeological societies. It also considers how amateur archaeologists raised the profile of their undertakings and attracted a more general audience. In addition, the chapter discusses the debates among historians about the origins of France, as publicised in the Revue des deux mondes, as well as the artistic imaginings of French history in paintings based on archaeological discoveries. Finally, it analyses the inclusion of Merovingians in the primary and secondary school curriculum as a way to disseminate archaeological research and its impact on the popular imagination.Less
This chapter examines public reception of archaeological finds from the Merovingian period in nineteenth-century France. More specifically, it looks at the publication of news of archaeological discoveries and advances in research in newspapers and illustrated magazines, and whether such news reached a contemporary readership beyond the members of archaeological societies. It also considers how amateur archaeologists raised the profile of their undertakings and attracted a more general audience. In addition, the chapter discusses the debates among historians about the origins of France, as publicised in the Revue des deux mondes, as well as the artistic imaginings of French history in paintings based on archaeological discoveries. Finally, it analyses the inclusion of Merovingians in the primary and secondary school curriculum as a way to disseminate archaeological research and its impact on the popular imagination.
