Charles Darwin And Victorian Visual Culture

A highly illustrated account of Darwin's visual representations of his theories, and their influence on Victorian literature, art and culture, first published in 2006.

A timely and stimulating collection of essays about the impact of Darwin's ideas on visual culture

These essays examine the dynamic interplay between evolution and Victorian culture, mapping new relationships between the arts and sciences.

The nineteenth century was a period of science and imagery: when scientific theories and discoveries challenged longstanding boundaries between animal, plant, and human, and when art and visual culture produced new notions about the place of the human in the natural world. Just as scientists relied on graphic representation to conceptualize their ideas, artists moved seamlessly between scientific debate and creative expression to support or contradict popular scientific theories—such as Darwin’s theory of evolution and sexual selection—deliberately drawing on concepts in ways that allowed them to refute popular claims or disrupt conventional knowledges. Focusing on the close kinship between the arts and sciences during the Victorian period, the art historians contributing to this volume reveal the unique ways in which nineteenth-century British and American visual culture participated in making science, and in which science informed art at a crucial moment in the history of the development of the modern world. Together, they explore topics in geology, meteorology, medicine, anatomy, evolution, and zoology, as well as a range of media from photography to oil painting. They remind us that science and art are not tightly compartmentalized, separate influences. Rather, these are fields that share forms, manifest as waves, layers, lines, or geometries; that invest in the idea of the evolution of form; and that generate surprisingly kindred responses, such as pain, pleasure, empathy, and sympathy.

Sexual selection, or the struggle for mates, was of considerable strategic importance to Darwin s theory of evolution as he first outlined it in the "Origin of Species," and later, in the "Descent of Man," it took on a much wider role. There, Darwin s exhaustive elaboration of sexual selection throughout the animal kingdom was directed to substantiating his view that human racial and sexual differences, not just physical differences but certain mental and moral differences, had evolved primarily through the action of sexual selection. It was the culmination of a lifetime of intellectual effort and commitment. Yet even though he argued its validity with a great array of critics, sexual selection went into abeyance with Darwin s death, not to be revived until late in the twentieth century, and even today it remains a controversial theory. In unfurling the history of sexual selection, Evelleen Richards brings to vivid life Darwin the man, not the myth, and the social and intellectual roots of his theory building."

Galia Ofek's wide-ranging study elucidates the historical, artistic, literary, and theoretical meanings of the Victorians' preoccupation with hair. Victorian writers and artists, Ofek argues, had a well-developed awareness of fetishism as an overinvestment of value in a specific body part and were fully cognizant of hair's symbolic resonance and its value as an object of commerce. In particular, they were increasingly alert to the symbolic significance of hairstyling. Among the writers and artists Ofek considers are Elizabeth Gaskell, George Eliot, Margaret Oliphant, Charles Darwin, Anthony Trollope, Elizabeth Barrett Browning, Eliza Lynn Linton, Mary Elizabeth Braddon, Herbert Spencer, Dante Gabriel Rossetti, Edward Burne-Jones, Charles Dickens, Thomas Hardy, and Aubrey Beardsley. By examining fiction, poetry, anthropological and scientific works, newspaper reviews and advertisements, correspondence, jewellery, paintings, and cartoons, Ofek shows how changing patterns of power relations between women and patriarchy are rendered anew when viewed through the lens of Victorian hair codes and imagery during the second half of the nineteenth century.

This collection of essays sets out to challenge the dominant narrative about Victorian theatre by placing the practices and products of the Victorian theatre in relation to Victorian visual culture, through the lens of the concept of 'Ruskinian theatre', an approach to theatre which values its educative purpose as well as its aesthetic expression.

Uncovering a wealth of archival information, Eavan O'Dochartaigh gives fresh and surprising insight into the Victorian image of the Arctic.