This book - the first major study of the Holland Park Circle of artists, architects, and their patrons - is both an engrossing narrative of their lives, works and influence and a perceptive analysis of the subtle relationships between high Victorian taste and mercantile values."--BOOK JACKET.

Exhibition focusses on the Holland Park area of London which became home to the artists George Frederick Watts and Frederic Leighton, as well as to lesser-known artists such as Marcus Stone, Luke Fildes, Colin Hunter, William Burges, Albert Moore, Valentine Prinsep and Hamo Thornycroft.

The act of writing is intimately bound up with the flow and eddy of a writer’s being-within-the-world; the everyday practices, encounters and networks of social life. Exploring the geographies of literary practice in the period 1840-1910, this book takes as its focus the work, or craft, of authorship, exploring novels not as objects awaiting interpretation, but as spatial processes of making meaning. As such, it is interested in literary creation not only as something that takes place - the situated nature of putting pen to paper - but simultaneously as a process that escapes such placing. Arguing that writing is a process of longue durée, the book explores the influence of family and friends in the creative process, it draws attention to the role that travel and movement play in writing and it explores the wider commitments of authorial life, not as indicators of intertextuality, but as part of the creative process. In taking this seventy year period as its focus, this book moves beyond the traditional periodisations that have characterised literary studies, such as the Victorian or Edwardian novel, the nineteenth-century or early twentieth-century novel or Romanticism, social realism and modernism. It argues that the literary environment was not one of watershed moments; there were continuities between writers separated by several decades or writing in different centuries. At the same time, it draws attention to a seventy year period in which the value of literary work and culture were being contested and transformed. Place and the Scene of Literary Practice will be key reading for those working in Human Geography, particularly Cultural and Historical Geography, Literary Studies and Literary History.

This anonymous manuscript play has long been the subject of scholarly dispute regarding its relationship with Shakespeare's Richard II. This edition, which thoroughly re-examines the text, situates the play within its historical and political context, relating it to the genre of chronicle drama to which it belongs. The manuscript is of particular interest in that it appears to have been used in the playhouse over a considerable period of time and contains what seems to be evidence of the theatre practice of the time. The play is also of special interest for its skilful and original handling of source material which may well have influenced Shakespeare's Richard II. The extensive appendices drawn from Holinshed, Grafton and Stow provide the reader with the opportunity to investigate the manner in which the dramatist has shaped the material. The editors argue for the play's stage-worthiness and dramatic complexity, suggesting that its range both of dramatic tone and social inclusiveness indicate the work of a dramatist of considerable skill and subtlety, equal or superior to the Shakespeare of the Henry VI plays.

When women were admitted to the Royal Academy Schools in 1860, female art students gained a foothold in the most conservative art institution in England. The Royal Female College of Art, the South Kensington Schools and the Slade School of Fine Art also produced increasing numbers of women artists. Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage. Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.

A biography of a Victorian-era woman who grew up as the daughter of novelist Charles Dickens—and found a creative career of her own. Katey Dickens was born into a house of turbulent celebrity and grew up surrounded by fascinating, famous, and infamous people. From a very young age, she knew her vocation was to be an artist. Lucinda Hawksley charts the life of a celebrated portrait painter who redefines our preconceptions about Victorian women. Living to be almost ninety, Katey survived an unconventional marriage, love affairs, heartbreak, depression, and the challenges of being a female artist in a male-dominated era. Compelling and illuminating, this biography of Katey Dickens tells the story of a spirited woman who found fame at the center of the first celebrity phenomenon; it also uncovers the reality of what it was like to be a child of Charles and Catherine Dickens.

Published 150 years following Hunter's first success at the Royal Academy. Colin Hunter (1841-1904) was a hugely successful Scottish Victorian artist who exhibited nearly one hundred works in the Royal Academy over thirty-five years. He lived at 14 Melbury Road, Kensington, in the heart of the Holland Park Circle of famous artists, including Lord Leighton, G F Watts and Sir Luke Fildes among others, most of whom were both Hunter's friends and neighbours. Born in Glasgow, and then growing up in Helensburgh, Hunter honed his craft painting landscapes in natural settings on the west coast and islands of Scotland and is best known for his seascapes. Painting largely with oil and occasionally watercolours, he was also an accomplished etcher. In the hundred or so years since Hunter's death he has - undeservedly - gradually faded into relative obscurity. This book is not just a biography of the artist, it is also the most comprehensive catalogue of his works to date.