The Art-Union and Photography, 1839-1854: The First Fifteen Years of Critical Engagement between Two Cultural Icons of Nineteenth-Century Britain

Description:

This study analyzes how the Art-Union, a British journal interested only in the fine arts, approached photography between 1839 and 1854. It is informed by Karl Marx’s materialism-informed commodity fetishism, Gerry Beegan’s conception of knowingness, Benedict Anderson’s imagined community, and an art critical discourse that was defined by Roger de Piles and Joshua Reynolds. The individual chapters are each sites in which to examine these multiple theoretical approaches to the journal’s and photography’s association in separate, yet sometimes overlapping, periods. One particular focus of this study concerns the method through which the journal viewed photography—as an artistic or scientific enterprise. A second important focus of this study is the commodification of both the journal and photography in Britain. Also, it determines how the journal’s critical engagement with photography fits into the structure and development of a nineteenth-century British social collectivity focused on art and the photographic enterprise.

Creator(s): Boetcher, Derek Nicholas
Creation Date: August 2011
Partner(s):
UNT Libraries
Collection(s):
UNT Theses and Dissertations
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Publisher Info:
Publisher Name: University of North Texas
Publisher Info: Web: www.unt.edu
Place of Publication: Denton, Texas
Date(s):
  • Creation: August 2011
Description:

This study analyzes how the Art-Union, a British journal interested only in the fine arts, approached photography between 1839 and 1854. It is informed by Karl Marx’s materialism-informed commodity fetishism, Gerry Beegan’s conception of knowingness, Benedict Anderson’s imagined community, and an art critical discourse that was defined by Roger de Piles and Joshua Reynolds. The individual chapters are each sites in which to examine these multiple theoretical approaches to the journal’s and photography’s association in separate, yet sometimes overlapping, periods. One particular focus of this study concerns the method through which the journal viewed photography—as an artistic or scientific enterprise. A second important focus of this study is the commodification of both the journal and photography in Britain. Also, it determines how the journal’s critical engagement with photography fits into the structure and development of a nineteenth-century British social collectivity focused on art and the photographic enterprise.

Degree:
Discipline: History
Level: Master's
PublicationType: Master's Thesis
Language(s):
Subject(s):
Keyword(s): The Art-Union | fetishism | commodity | Talbot | Daguerre | talbotype | daguerreotype | photography
Contributor(s):
Partner:
UNT Libraries
Collection:
UNT Theses and Dissertations
Identifier:
  • LOCAL-CONT-NO: boetcher_derek_nicholas
  • ARK: ark:/67531/metadc84178
Resource Type: Thesis or Dissertation
Format: Text
Rights:
Access: Public
Holder: Boetcher, Derek Nicholas
License: Copyright
Statement: Copyright is held by the author, unless otherwise noted. All rights reserved.