Of Victorian Interest

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Of Victorian Interest

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Latest Issue of 19: Interdisciplinary Studies in the Long Nineteenth Century

19: Interdisciplinary Studies in the Long Nineteenth Century is proud to announce that the spring 2019 issue is now live at https://www.19.bbk.ac.uk. ‘Old Masters, Modern Women’ is the result of collaboration between Birkbeck, University of London and the National Gallery, London and is co-edited by Maria Alambritis, Susanna Avery-Quash, and Hilary Fraser. One of 19’s largest issues, it brings to new prominence the nineteenth-century women who looked at art, and thought and wrote about it.

This issue also inaugurates a new section, 19 Live, edited by Victoria Mills, dedicated to discussing recent exhibitions, events, and performances with a nineteenth-century focus https://www.19.bbk.ac.uk/

Table of Contents

Old Masters, Modern Women


Gabriele Finaldi


Maria Alambritis, Susanna Avery-Quash, and Hilary Fraser


Isabelle Baudino

‘Nothing seems to have escaped her’: British Women Travellers as Art Critics and Connoisseurs (1775–1825)

Caroline Palmer

‘A revolution in art’: Maria Callcott on Poussin, Painting, and the Primitives

Susanna Avery-Quash

Illuminating the Old Masters and Enlightening the British Public: Anna Jameson and the Contribution of British Women to Empirical Art History in the 1840s

Susanna Avery-Quash

Postscript to ‘Illuminating the Old Masters and Enlightening the British Public’

Zahira Véliz Bomford

Navigating Networks in the Victorian Age: Mary Philadelphia Merrifield’s Writing on the Arts

Julie Sheldon

Lady Eastlake and the Characteristics of the Old Masters

Patricia Rubin

George Eliot, Lady Eastlake, and the Humbug of Old Masters

Maria Alambritis

‘Such a pleasant little sketch […] of this irritable artist’: Julia Cartwright and the Reception of Andrea Mantegna in Late Nineteenth-Century Britain

Hilary Fraser

Writing Cosmopolis: The Cosmopolitan Aesthetics of Emilia Dilke and Vernon Lee

Ilaria Della Monica

Mary Berenson and The Guide to the Italian Pictures at Hampton Court

Jonathan K. Nelson

An Unpublished Essay by Mary Berenson, ‘Botticelli and his Critics’ (1894–95)

Tiffany L. Johnston

Maud Cruttwell and the Berensons: ‘A preliminary canter to an independent career’

Francesco Ventrella

Writing Under Pressure: Maud Cruttwell and the Old Master Monograph

Imogen Tedbury

Collaboration and Correction: Re-examining the Writings of Lucy Olcott Perkins, ‘a lady resident in Siena’

Meaghan Clarke

Women in the Galleries: New Angles on Old Masters in the Late Nineteenth Century

Lene Østermark-Johansen

‘This will be a popular picture’: Giovanni Battista Moroni’s Tailor and the Female Gaze

Biographical Section

Edited by Diane Apostolos-Cappadona


Edited by Maria Alambritis

19 Live

Herb Sussman

Reflections on 19 Live

Susanna Avery-Quash, Letizia Treves, and Francesca Whitlum-Cooper

[In]Visible: Paintings by Women Artists in the National Gallery, London: An Interview with Letizia Treves and Francesca Whitlum-Cooper

Emma Merkling

Review of ‘Annie Swynnerton: Painting Light and Hope’, Manchester Art Gallery

Maria Alambritis

Review of ‘Christiana Herringham: Artist, Campaigner, Collector’, Royal Holloway, Emily Wilding Davison Building

Susanna Avery-Quash and Emma O’Toole

‘[In]Visible: Irish Women Artists from the Archives’: An Interview with Emma O’Toole

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