Picturing Victorian America

Winner of the Ewell L. Newman Award from the American Historical Print Collectors Society (2009) Winner of the Betty M. Linsley Award from the Association for the Study of Connecticut History (2010) This is the first book-length account of the pioneering and prolific Kellogg family of lithographers, active in Connecticut for over four decades. Daniel Wright Kellogg opened his print shop on Main Street in Hartford five years before Nathaniel Currier went into a similar business in New York and more than twenty-five years before Currier founded his partnership with James M. Ives, yet Daniel and his brothers Elijah and Edmund Kellogg have long been overshadowed by the Currier & Ives printmaking firm. Editor Nancy Finlay has gathered together eight essays that explore the complexity of the relationships between artists, lithographers, and print, map, and book publishers. Presenting a complete visual overview of the Kelloggs' production between 1830 and 1880, Picturing Victorian America also provides museums, libraries, and private collectors with the information needed to document the Kellogg prints in their own collections. The first comprehensive study of the Kellogg prints, this book demands reconsideration of this Connecticut family's place in the history of American graphic and visual arts. CONTRIBUTORS: Georgia B. Barnhill, Lynne Zacek Bassett, Candice C. Brashears, Nancy Finlay, Elisabeth Hodermarsky, Richard C. Malley, Sally Pierce, Michael Shortell, Kate Steinway.

The modern media world came into being in the nineteenth century, when machines were harnessed to produce texts and images in unprecedented numbers. In the visual realm, new industrial techniques generated a deluge of affordable pictorial items, mass-printed photographs, posters, cartoons, and illustrations. These alluring objects of the Victorian parlor were miniaturized spectacles that served as portals onto phantasmagoric versions of 'the world.' Although new kinds of pictures transformed everyday life, these ephemeral items have received remarkably little scholarly attention. Picture World shines a welcome new light onto these critically neglected yet fascinating visual objects. They serve as entryways into the nineteenth century's key aesthetic concepts. Each chapter pairs a new type of picture with a foundational keyword in Victorian aesthetics, a familiar term reconceived through the lens of new media. 'Character' appears differently when considered with caricature, in the new comics and cartoons appearing in the mass press in the 1830s; likewise, the book approaches 'realism' through pictorial journalism; 'illustration' via illustrated Bibles; 'sensation' through carte-de-visite portrait photographs; 'the picturesque' by way of stereoscopic views; and 'decadence' through advertising posters. Picture World studies the aesthetic effects of the nineteenth century's media revolution: it uses the relics of a previous era's cultural life to interrogate the Victorian world's most deeply-held values, arriving at insights still relevant in our own media age.

Art historian David Lubin examines the work of six nineteenth-century American artists to show how their paintings both embraced and resisted dominant social values. Lubin argues that artists such as George Bingham and Lily Martin Spencer were aware of the underlying social conflicts of their time and that their work reflected the nation's ambivalence toward domesticity, its conflicting ideas about child rearing, its racial disharmony, and many other issues central to the formation of modern America.--From publisher description.

This title examines comprehensively the little-known phenomenon of Victorian photocollage, presenting imagery that has rarely - and in many cases, never - been displayed or reproduced.

Picturing America argues that photography is a prevalent practice of making places, determining how we situate ourselves in the world. As a prime site of knowledge and change, it enacts our perception as well as transformative conception of American environments.

David Newsome's monumental history, The Victorian World Picture, takes a good, long look at the Victorian age and what distinguishes it so prominently in the history of both England and the world. The Victorian World Picture presents a vivid canvas of the Victorians as they saw themselves and as the rest of the world saw them.

Coinciding with the extraordinary expansion of Britain's overseas empire under Queen Victoria, the invention of photography allowed millions to see what they thought were realistic and unbiased pictures of distant peoples and places. This supposed accuracy also helped to legitimate Victorian geography's illuminations of the "darkest" recesses of the globe with the "light" of scientific mapping techniques. But as James R. Ryan argues in Picturing Empire, Victorian photographs reveal as much about the imaginative landscapes of imperial culture as they do about the "real" subjects captured within their frames. Ryan considers the role of photography in the exploration and domestication of foreign landscapes, in imperial warfare, in the survey and classification of "racial types," in "hunting with the camera," and in teaching imperial geography to British schoolchildren. Ryan's careful exposure of the reciprocal relation between photographic image and imperial imagination will interest all those concerned with the cultural history of the British Empire.

Conflicts and controversies at home and abroad have led Americans to focus on Islam more than ever before. In addition, more and more of their neighbors, colleagues, and friends are Muslims. While much has been written about contemporary American Islam and pioneering studies have appeared on Muslim slaves in the antebellum period, comparatively little is known about Islam in Victorian America. This biography of Alexander Russell Webb, one of the earliest American Muslims to achieve public renown, seeks to fill this gap. Webb was a central figure of American Islam during the late nineteenth and early twentieth centuries. A native of the Hudson Valley, he was a journalist, editor, and civil servant. Raised a Presbyterian, Webb early on began to cultivate an interest in other religions and became particularly fascinated by Islam. While serving as U.S. consul to the Philippines in 1887, he took a greater interest in the faith and embraced it in 1888, one of the first Americans known to have done so. Within a few years, he began corresponding with important Muslims in India. Webb became an enthusiastic propagator of the faith, founding the first Islamic institution in the United States: the American Mission. He wrote numerous books intended to introduce Islam to Americans, started the first Islamic press in the United States, published a journal entitled The Moslem World, and served as the representative of Islam at the 1893 World's Parliament of Religions in Chicago. In 1901, he was appointed Honorary Turkish Consul General in New York and was invited to Turkey, where he received two Ottoman medals of merits. In this first-ever biography of Webb, Umar F. Abd-Allah examines Webb's life and uses it as a window through which to explore the early history of Islam in America. Except for his adopted faith, every aspect of Webb's life was, as Abd-Allah shows, quintessentially characteristic of his place and time. It was because he was so typically American that he was able to serve as Islam's ambassador to America (and vice versa). As America's Muslim community grows and becomes more visible, Webb's life and the virtues he championed - pluralism, liberalism, universal humanity, and a sense of civic and political responsibility - exemplify what it means to be an American Muslim.