Description
Book SynopsisSince the production of the first negative by William Henry Fox Talbot 1835, English photography has played a central role in revolutionizing the production of images, yet has largely evaded critical attention. Edwards investigates this new enterprise, and specifically how professional photographers shaped a strange aesthetic for their practice.
Trade Review“This is an ambitious and complex book, addressing a neglected area of photographic discourse and scholarship. Edwards sets out in very clear terms the methodology and ambitions of his project and delivers a rich and rewarding analysis of the ideological conditions that framed the rise of photography in Victorian Britain.”
—Russell Roberts,Head of Photography & Senior Curator of Photographs (National Museum of Photography, Film & TV)
“The Making of English Photography is based upon close readings of key nineteenth-century photographic journals, particularly The Photographic News, which was the most important of the numerous publications sponsored by the photographic associations of the day. Edwards’s vigorous attention to this extensive literature forms an invaluable contribution to art history’s grasp of the development of photography.”
—Ellen Handy CAA Reviews
“This is an important book. Edwards makes connections between Victorian photographs and the social and cultural transformations of machine labor that future scholarship will need take into account.”
—Joanne Lukitsh Victorian Studies
“Perhaps the greatest service this book provides is to enable and encourage departures in the intelligent directions its author has chartered for us here.”
—Douglas R. Nickel Art Bulletin
“One can hardly dispute any of the arguments Edwards puts forth in the book; the labor of meticulous research is not only clear at the level of the sentence, but the arguments are nuanced and very finely wrought.”
—Zahid R. Chaudhary British Studies
“Edwards’ book is extremely well written, and there is definite energy in his use of analogy and the methodological exactitude of his research.”
—Sarah James Art History
Table of ContentsContents
Acknowledgments
Introduction: Photography, Writing, Resentment
Part I: An Industrial and Commercial Form
1. “Fairy Pictures” and “Fairy Fingers”: The Photographic Imagination and the Subsumption of Skill
2. A Photographic Atlas: Divisions of the Photographic Field
Part II: An Aesthetic Form
3. The Story of the Houyhnhnms: Art Theory and Photography, Part 1
4. “The Solitary Exception”: Photography at the International Exhibition, c. 1861
5. “The Faculty of Artistic Sight”: Art Theory and Photography, Part 2
6. “Gradgrind Facts,” or “The Background Is Simply a Background”
Notes
Index
