Sun-pictures and shadow-play: Untangling the web of gendered metaphors in Lady Elizabeth Eastlake's ‘Photography’

Miles, Melissa

doi:10.1080/02666286.2008.10444073

Cited by 15 publications

(1 citation statement)

References 2 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…19 19 As in for example the famous essay “Photography” by Lady Elizabeth Eastlake (1857), whose use of contradictory gendered metaphors—the sun is presented as masculine, while light‐writing, or photography, is presented as feminine—has been examined by Melissa Miles (2008). …”

mentioning

confidence: 99%

Crafting and collecting cyanotypes: Anna Atkins's Photographs of British Algae: Cyanotype Impressions

Franchi

2023

Literature Compass

View full text Add to dashboard Cite

This essay reads Anna Atkins's Photographs of British Algae: Cyanotype Impressions (1843–1853) as an example of Victorian imitative art by reading it through the lens of Victorian domestic handicraft. It does so in order to resituate Atkins's work within the history of scientific visualization and to contribute to the increasing complexity scholars of visual culture and of the scientific image have added to prevailing accounts of the rise of the “objective” scientific image in the nineteenth‐century. Building on the work of historians of photography, art, science, and literature, it argues that her cyanotypes point toward an alternative history of scientific image as a form of craft and collection that resonates with recent calls in the study of the scientific image and scientific practices to move “beyond representation.”

show abstract

mentioning

confidence: 99%

Crafting and collecting cyanotypes: Anna Atkins's Photographs of British Algae: Cyanotype Impressions

Franchi

2023

Literature Compass

View full text Add to dashboard Cite

show abstract

Women on Philosophy of Art

Stone

2024

View full text Add to dashboard Cite

This book is the first study of women’s philosophies of art in long nineteenth-century Britain. It looks at seven women spanning the time from the Enlightenment to the beginning of modernism. They are Anna Barbauld, Joanna Baillie, Harriet Martineau, Anna Jameson, Frances Power Cobbe, Emilia Dilke, and Vernon Lee. The central issue that concerned them was how art related to morality and religion. Baillie and Martineau treated art as a means of moral instruction, whereas Dilke and Lee argued that art must be made for beauty’s sake. Barbauld, Jameson, and Cobbe thought that beauty and religion were linked, while other women believed that art and religion must be decoupled. Other topics these women explored were gender and genius, tragedy, literary realism, why we enjoy the sufferings of fictional characters, the hierarchy of the art-forms, whether art can transcend its historical circumstances, and critical issues around the artistic canon. Examining the print culture that made these women’s interventions possible, this book shows that these women were doing a particular kind of philosophy of art, which was interdisciplinary and closely tied to artistic criticism and practice. The book traces how these seven women influenced one another, as well as engaging with their male contemporaries. But unlike their male interlocutors, these women have been unjustly left out of narratives about the history of aesthetics. By including these women, we gain a richer and more accurate understanding of the history of philosophy of art.

show abstract

Timeline

Stone

2024

Women on Philosophy of Art

View full text Add to dashboard Cite

Sun-pictures and shadow-play: Untangling the web of gendered metaphors in Lady Elizabeth Eastlake's ‘Photography’

Cited by 15 publications

References 2 publications

Crafting and collecting cyanotypes: Anna Atkins's Photographs of British Algae: Cyanotype Impressions

Crafting and collecting cyanotypes: Anna Atkins's Photographs of British Algae: Cyanotype Impressions

Women on Philosophy of Art

Timeline

Contact Info

Product

Resources

About