The World in Paint: Modern Art and Visuality in England, 1848-1914 (review)
Notice bibliographique
Résumé
Reviewed by: The World in Paint: Modern Art and Visuality in England, 1848–1914 Alison Syme (bio) David Peters Corbett. The World in Paint: Modern Art and Visuality in England, 1848–1914 Penn State University Press. xviii, 318. US $75.00, US $35.00 The World in Paint is an ambitious study that takes the standard formalist account of modernism to task for its geographical prejudices, and social history for its dismissal of purely visual concerns. Like Jonathan Crary's Techniques of the Observer, David Peters Corbett's book dates the origins of modern visuality prior to the emergence of Manet and the Impressionists and, in the English context, prior to the 'Manet and the Post-Impressionists' exhibition organized by Roger Fry in 1910. Identifying a 'new climate of possibility for the visual' in the 1840s in England, Corbett proposes a rethinking not only of the development of English modernism, but of modernism and the registration of modernity in painting more broadly. The book is divided into chapters on the Pre-Raphaelites, Aestheticism, the relationship of Oscar Wilde and his illustrator Charles Ricketts, Walter Sickert, and Vorticism. In each case study Corbett analyses how his artist-protagonists tried to negotiate the difficult questions of whether and how pigment could or should register modern experience. His discussion of Wilde's Portrait of Dorian Gray, for example, highlights the story's mockery of painting's truth-claims through its literalization of 'what it would really mean to impress experience directly onto the surface of a canvas.' Corbett explores a wealth of different painterly responses to these vexing questions, including scepticism about, repudiation of, or belief in 'the visual's access to the real.' In each instance, artists' concerns with pigment's potential for embodying, mediating, or disclaiming reality and modernity are examined in light of wider ongoing debates, such as the commodification of art, the experience of the modern city, and the different representational capacities of word and image. The larger problem the book addresses is 'how to connect historical circumstance with the physical surfaces of paintings.' Corbett's analyses of the ways pigment and facture were understood in each period he discusses are thoroughly researched and draw convincingly on a broad range of published and unpublished sources. His textual citations give a compelling sense of how paint, in all its materiality, was culturally perceived. Corbett, however, rarely treats the surfaces of specific paintings in much detail. The book, then, doesn't entirely fulfil its promise of returning to the visual. The exception to this is the chapter on Walter Sickert. Corbett's detailed treatment of Sickert's music-hall scenes, particularly Gatti's Hungerford Palace of Varieties: Second Turn of Katie Lawrence, is stunning in its visual sensitivity and eloquent unfolding of the complexities of layers of fiction and reality, reference and self-reference in the work. Sickert's 'nuanced investigation into paint's adequacy as a vehicle' for describing modern [End Page 442] experience is also compellingly, if not as thoroughly, explored through the haunting Camden Town Murder paintings. The World in Paint is a welcome contribution to the history of English art, its complex weaving together of diverse agendas refreshing and admirable. If Corbett doesn't always provide as much formal analysis as one would like, he offers a rigorously historicized framework from which to begin. Alison Syme Alison Syme, Department of Fine Art, University of Toronto at Mississauga Copyright © 2007 University of Toronto Press Incorporated
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».