By Simon Cooke
“Well-researched and highly readable, Cooke’s richly illustrated book harmonizes two schools of illustration, deftly examines image and word, and skillfully reads the conventional and innovative aspects of Tennyson’s poetry, making a significant contribution to the growing field of illustration studies.”
Catherine J. Golden, author of Serials to Graphic Novels: The Evolution of the Victorian Illustrated Book
A new perspective on a book that transformed Victorian illustration into a stand-alone art.
Edward Moxon’s 1857 edition of Alfred, Lord Tennyson’s Poems dramatically redefined the relationship between images and words in print. Cooke’s study, the first book to address the subject in over 120 years, presents a sweeping analysis of the illustrators and the complex and challenging ways in which they interpreted Tennyson’s poetry. This book considers the volume’s historical context, examining in detail the roles of publisher, engravers, and binding designer, as well as the material difficulties of printing its fine illustrations, which recreate the effects of painting. Arranged thematically and reproducing all the original images, the chapters present a detailed reappraisal of the original volume and the distinctive culture that produced it.
Simon Cooke is the editor for book illustration and design on Victorian Web. He is the author of Illustrated Periodicals of the 1860s and coeditor of two collections of essays. He has published on Victorian book art, Gothic, Sensationalism, and the Pre-Raphaelites. More info →
Save 20% ($64)
This book is not yet available for desk or examination copy requests. Please check back soon.
Permission to reprint
Permission to photocopy or include in a course pack via Copyright Clearance Center
Late nineteenth-century Britain experienced an unprecedented explosion of visual print culture and a simultaneous rise in literacy across social classes. New printing technologies facilitated quick and cheap dissemination of images—illustrated books, periodicals, cartoons, comics, and ephemera—to a mass readership. This Victorian visual turn prefigured the present-day impact of the Internet on how images are produced and shared, both driving and reflecting the visual culture of its time.From
Katherine D. Harris assesses the phenomenal rise of the literary annual and its origins in English, German, and French literary forms as well as its social influence on women, its redefinition of the feminine, and its effects on late nineteenth- and early twentieth-century print culture.
Before he joined the staff of Punch and designed its iconic front cover, illustrator Richard “Dicky” Doyle was a young man whose father (political caricaturist John Doyle) charged him with sending a weekly letter, even though they lived under the same roof. This volume collects the fifty-three illustrated missives in their entirety for the first time and provides an uncommon peek into the intimate but expansive observations of a precocious social commentator and artist.In
The Victorians were image obsessed. The middle decades of the nineteenth century saw an unprecedented growth in the picture industry. Technological advances enabled the Victorians to adorn with images the pages of their books and the walls of their homes. But this was not a wholly visual culture. Pictorial Victorians focuses on two of the most popular mid-nineteenth-century genres—illustration and narrative painting—that blurred the line between the visual and textual.Illustration
Sign up to be notified when new Victorian Studies titles come out.
We will only use your email address to notify you of new titles in the subject area(s) you follow. We will never share your information with third parties.