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Stanley Anderson
Despite living through some of the most dramatic changes of the twentieth century, Stanley Anderson CBE (1884-1966) created a vision of an essentially timeless English rural tradition in his etchings and woodcuts. He trained as an engraver, first on a heraldic engraving apprenticeship with his father and later at the Royal College of Art and Goldsmiths' College, London. Anderson became a master of his craft: elected as a fellow of the Royal Society of Painter-Etcher and Engravers in 1923. When he later took up woodcutting, he became immersed in a technique that was considered as deeply English as the subjects he depicted. Anderson was a key figure in the engraving revival in the 1920s; the t...
Charles Tunnicliffe
Published on the occasion of the exhibition "Second nature: the art of Charles Tunnicliffe RA," held at the Tennant Gallery, Royal Academy of Arts, London, 11 July - 8 October 2017.
The Royal Kalendar
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Reading Victorian Illustration, 1855-1875
In a reevaluation of that period in Victorian illustration known as 'The Sixties,' a distinguished group of international scholars consider the impact of illustration on the act of reading; its capacity to reflect, construct, critique and challenge its audience's values; its response to older graphic traditions; and its assimilation of foreign influences. While focused on the years 1855 to 1875, the essays take up issues related to the earlier part of the nineteenth century and look forward to subsequent developments in illustration. The contributors examine significant figures such as Ford Madox Brown, Frederick Sandys, John Everett Millais, George John Pinwell, and Hablot Knight Browne in connection with the illustrated magazine, the mid-Victorian gift book, and changing visual responses to the novels of Dickens. Engaging with a number of theories and critical debates, the collection offers a detailed and provocative analysis of the nature of illustration: its production, consumption, and place within the broader contexts of mid-Victorian culture.
