The Mass Image

Beegan, Gerry

doi:10.1057/9780230589926

Cited by 41 publications

(5 citation statements)

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“…But this was also their strength: the "illustrated periodical's unique power was that of visual and textual repetition," as Gerry Beegan puts it. 47 And as Hartwig Gebhardt has argued, it is only by considering the incessant repetition of subject matter in early illustrated magazines that we become aware of the extent to which they also relied on and developed specific "Bildmustern" (image patterns), crucial to how the images were interpreted and experienced. 48 If the purpose is to understand how the images in these magazines could have been experienced, it is thus important to look not only at individual cases but also at how they functioned as part of longer series of similar representations.…”

Section: Episodic Narrativesmentioning

confidence: 99%

Synoptic Images: Truth and Temporality in Pictorial Journalism During the 1840s

Kihlberg¹

2023

Victorian Literature and Culture

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The 1840s saw the creation of weekly illustrated newsmagazines in several European countries, with titles like the Illustrated London News, L'Illustration, and the Illustrirte Zeitung. This article questions the common assumption that these influential periodicals contributed to modern news time primarily by speeding up the consumption of visual information through rapidly produced and consumed eyewitness accounts. An analysis of the many images of staged public events, like inaugurations, political meetings, and parades, that were published during the early years of illustrated news instead shows than they were often produced as translations of information from different sources (both visual and verbal) and created as pictorial summaries of events in a way that can best be described as “synoptic.” Rather than ephemeral reflections of an ever-changing present, such visual condensations also served to commemorate and make lasting and thus contributed to establishing the very events on which the experience of a fast-forward movement of time was based.

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Section: Episodic Narrativesmentioning

confidence: 99%

Synoptic Images: Truth and Temporality in Pictorial Journalism During the 1840s

Kihlberg¹

2023

Victorian Literature and Culture

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“…Although in fact 'snapshots' were not simply reproduced without manipulation, considerable time was spent retouching and re-engraving half-tones. 70 The transfer lithograph also facilitated another aspect of multiple print production. It enabled the artist to do many sketches on the spot in series, unlike the heavy and unwieldy stones.…”

Section: Meaghan Clarkementioning

confidence: 99%

Seeing in Black‐and‐White: Incidents in Print Culture

Clarke¹

2011

Art History

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“…1 Combining wood-engraved illustrations with news, current affairs, editorial comment and serialized literature, these periodicals became the medium through which large sections of Victorian society viewed and interpreted their world. 2 Ralston's illustration is a considerably rich visual source that represents a specific moment in sporting history. In addition to providing contextual information to support historical research such as the tape strung between the posts rather than the later crossbar, the illustration also captures an age of Victorian fortitude and eccentric amateurism that provides a visually arresting accompaniment to many football histories.…”

Section: Introductionmentioning

confidence: 99%

Illustrating the Auld Enemies: analysis of William Ralston’s depiction of the first international football match between Scotland and England

Leese

2014

Soccer & Society

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This essay examines William Ralston's illustration of the first official international football match between Scotland and England in November 1872. A close analysis of the image reveals not only how Ralston depicted the players and the style of football they played, but also how broader issues of class, national identity, spectatorship and social satire are bound together in this significant sporting image. The essay also examines Ralston's work in relation to other representations of football produced for the illustrated press during the game's early years. It considers to what extent the form and composition of the illustration was influenced by the style of football on display and how subsequent illustrators interpreted the game as it developed into a popular spectator sport by the 1890s. This essay demonstrates how art offers sport history a rich source of material that can expand our understanding of sporting culture. IntroductionThe first official international football match saw Scotland and England contest a hard-fought goalless draw at the West of Scotland Cricket Club in Partick on Saturday, 30 November 1872. The only visual record of this significant milestone in the history of football is William Ralston's (1848Ralston's ( -1911 illustration that was published in the illustrated newspaper The Graphic two weeks later (Figure 1). It was composed of several individual sketches depicting the players engaged in physical scrimmages, executing robust shoulder charges and performing skills such as acrobatic volleys and heading. The montage also included glimpses of the crowd, match officials and the warm-up routine, giving a sense of not only how the game was played but also the wider sporting and social milieu. This essay will analyse Ralston's illustration in detail and consider how the image depicts the players, spectators and the style of football that was played. It will examine how Ralston illustrated various technical skills as well as capturing the adversarial struggle between the two teams. Issues of class and national identity will be scrutinized and consideration will be given to how Ralston, a Scottish illustrator producing work for London-based publications, represented Scottish football to a largely English audience. Since football was a relatively new addition to the range of material appearing in the illustrated press at this time, this essay will highlight Ralston's use of recognized visual motifs drawn from other subject matter in his representation of the match. It will also discuss how the image relates to the wider

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The Mass Image

Cited by 41 publications

References 0 publications

Synoptic Images: Truth and Temporality in Pictorial Journalism During the 1840s

Synoptic Images: Truth and Temporality in Pictorial Journalism During the 1840s

Seeing in Black‐and‐White: Incidents in Print Culture

Illustrating the Auld Enemies: analysis of William Ralston’s depiction of the first international football match between Scotland and England

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