The Portfolio: Difference between revisions
→History: reference to novelist George Gissing |
Burne-Jones (talk | contribs) →History: added hyphen (adjective) etc. Tags: Mobile edit Mobile web edit |
||
| Line 6: | Line 6: | ||
==History== |
==History== |
||
The mid-nineteenth century in France and Britain saw a rise in the interest in etching. Hamerton had spent the 1860s in France with his French wife, Eugénie. The impetus for the launch of ''The Portfolio'' came in the wake of the foundation in Paris of the Société des aquafortistes in 1862, and to a lesser extent from the longer established [[Etching Club]] from 1838. Etchings by many French etchers such as [[Paul Adolphe Rajon|Paul Rajon]] (1843–1888) and Benjamin Damman (1835–1921) were a marked feature of the publication. ''[[The New York Times]]'' lavished praise on the publication when, in 1875, it remarked that it could not "eulogize too highly the merits of this periodical in all its departments. It is, without question, the most beautiful in regard to illustration which emanates from the press".<ref>'New Publications', ''[[The New York Times]]'', 23 March 1875, p.10.</ref> The late nineteenth |
The mid-nineteenth century in France and Britain saw a rise in the interest in etching. Hamerton had spent the 1860s in France with his French wife, Eugénie. The impetus for the launch of ''The Portfolio'' came in the wake of the foundation in Paris of the Société des aquafortistes in 1862, and to a lesser extent from the longer established [[Etching Club]] from 1838. Etchings by many French etchers such as [[Paul Adolphe Rajon|Paul Rajon]] (1843–1888) and Benjamin Damman (1835–1921) were a marked feature of the publication. ''[[The New York Times]]'' lavished praise on the publication when, in 1875, it remarked that it could not "eulogize too highly the merits of this periodical in all its departments. It is, without question, the most beautiful in regard to illustration which emanates from the press".<ref>'New Publications', ''[[The New York Times]]'', 23 March 1875, p.10.</ref> The late nineteenth-century British author [[George Gissing]] wrote in his diary for December 1895 (sic.) that he took the magazine for his son, because of its good pictures.<ref>Coustillas, Pierre ed. ''London and the Life of Literature in Late Victorian England: the Diary of George Gissing, Novelist. Brighton: Harvester Press, 1978, p.396.</ref> In a survey of the etching revival in 1878 the ''[[The Magazine of Art|Magazine of Art]]'' highlighted the centrality of Hamerton and his monthly magazine which had "so ably and unceasingly pleaded the cause of etching" in Britain.<ref>[[Marcus Bourne Huish]], 'Etching in England: I', ''Magazine of Art'', 1878, pp.146–48 (148).</ref> |
||
==References== |
==References== |
||
Revision as of 14:21, 14 July 2019
 | This article relies largely or entirely on a single source. (September 2018) |
The Portfolio was a British monthly art magazine published in London from 1870 to 1893.[1] It was founded by Philip Gilbert Hamerton and promoted contemporary printmaking, especially etching. Early contributors included Joseph Beavington Atkinson (1822–1886), Francis Turner Palgrave (1824–1897) and Sidney Colvin (1845–1927).
History
The mid-nineteenth century in France and Britain saw a rise in the interest in etching. Hamerton had spent the 1860s in France with his French wife, Eugénie. The impetus for the launch of The Portfolio came in the wake of the foundation in Paris of the Société des aquafortistes in 1862, and to a lesser extent from the longer established Etching Club from 1838. Etchings by many French etchers such as Paul Rajon (1843–1888) and Benjamin Damman (1835–1921) were a marked feature of the publication. The New York Times lavished praise on the publication when, in 1875, it remarked that it could not "eulogize too highly the merits of this periodical in all its departments. It is, without question, the most beautiful in regard to illustration which emanates from the press".[2] The late nineteenth-century British author George Gissing wrote in his diary for December 1895 (sic.) that he took the magazine for his son, because of its good pictures.[3] In a survey of the etching revival in 1878 the Magazine of Art highlighted the centrality of Hamerton and his monthly magazine which had "so ably and unceasingly pleaded the cause of etching" in Britain.[4]
References
- ^ Hamerton, Philip Gilbert (1870–1893). "The Portfolio: an artistic periodical": 248 no. ISSN 2043-572X.
{{cite journal}}: Cite journal requires|journal=(help)CS1 maint: date format (link) - ^ 'New Publications', The New York Times, 23 March 1875, p.10.
- ^ Coustillas, Pierre ed. London and the Life of Literature in Late Victorian England: the Diary of George Gissing, Novelist. Brighton: Harvester Press, 1978, p.396.
- ^ Marcus Bourne Huish, 'Etching in England: I', Magazine of Art, 1878, pp.146–48 (148).
 | This article relating to a magazine connected with the visual arts is a stub. You can help Wikipedia by expanding it. See tips for writing articles about magazines. Further suggestions might be found on the article's talk page. |