Landscape imagery and urban culture in early nineteenth-century Britain

List of plates

List of maps

Preface

Acknowledgements

1 Art as seen (starting p. 1)

2 Ideology and naturalism (starting p. 8)

(i) Aims and approach (starting p. 8)

(ii) Ideology (starting p. 12)

(iii) Naturalism and style (starting p. 15)

(iv) Naturalism and the picturesque (starting p. 19)

(v) Naturalism and meaning (starting p. 26)

3 Artists in British society 1829-1830 (starting p. 29)

(i) Politics and class consciousness (starting p. 29)

(ii) Artistic 'autonomy', patronage, and the market (starting p. 34)

4 Philosophical criticism's man of taste (starting p. 48)

5 Philosophical criticism and the science of landscape (starting p. 62)

(i) The man of taste in the country

a universe of signs

(starting p. 62)

(ii) Seeing the picturesque (starting p. 67)

(iii) The pleasures of the city

an inversion

(starting p. 72)

(iv) The landscape painter's science of signs (starting p. 75)

6 Naturalism and the academic ideal (starting p. 79)

(i) Academic theory and philosophical criticism (starting p. 79)

(ii) Landscape painting in academic theory (starting p. 86)

(iii) Society and the artist in academic theory (starting p. 89)

(iv) Modifications in academic discourse (starting p. 93)

7 Art criticism and the politics of landscape (starting p. 105)

(i) The metropolitan press (starting p. 105)

(ii) Art criticism as cultural critique (starting p. 109)

(iii) The functions of naturalism (starting p. 149)

8 The imagery of seaside resorts and modern leisure (starting p. 155)

(i) Attitudes towards resort development (starting p. 156)

(ii) The imagery of prints (starting p. 163)

(iii) Early oil paintings and water-colours (starting p. 168)

(iv) Imagery of Hastings (starting p. 171)

(v) Constable, Turner, and Brighton (starting p. 181)

(vi) Norwich artists and Great Yarmouth (starting p. 196)

(vii) Conclusions (starting p. 214)

9 The contradictions of progress: imagery of rivers (starting p. 216)

(i) The symbolism of rivers (starting p. 216)

(ii) Histories, topographies, and prints (starting p. 219)

(iii) Turner's Thames Series (starting p. 224)

(iv) Constable's Stour paintings (starting p. 245)

(v) The imagery of the Norfolk rivers (starting p. 257)

(vi) Constructing social harmony: regattas and water frolics (starting p. 277)

(vii) Conclusions (starting p. 291)

Conclusion: The passing of naturalism (starting p. 292)

Notes (starting p. 301)

Bibliography (starting p. 345)

Index (starting p. 356).