Explore artist who resides in the countryside and mediate rural labour with the representation of its physical difficulties to have work metaphoric of biblical and moral ideals.

Art History essay – Victorian Values (Provisional instruction – I will be uploading the original by tomorrow. Fell free today to start a draft) In this essay, you must answer the following question constructing an argument with several visual examples as paintings. I would say 3. How have the ideas used by art historians to explain Victorian visual culture changed over the years? What kinds of questions surrounding notions of work, labour and class are represented n Victorian art and visual culture? Give a substantial introduction in what you are going to convey later in this case based on Barringer’s readings The Harvest Field in the Railway Age. Barringer explores the inner section of labour art in topics of masculinity, political, economy, progress and so forth. You might start an argument related to manual and mental work. Workers bodies resemble Christ’s structure. Overpopulation issue in England so as consequence immigration to Australia – mining and so on. In doing so, you can analyse for Madox Brown work’s Last England- I do not need caption just copy and paste the image – examine representations of rural labour in the context of the railway and agricultural technologies. He juxtaposed paintings of pastoral workers (Stonebreakers for instance) with agricultural machine technology, agriculture politics open up to Marxism. Explore artist who resides in the countryside and mediate rural labour with the representation of its physical difficulties to have work metaphoric of biblical and moral ideals. In the second part that must be linked to the previous one, you can keep writing colonial labour, especially in Australia. In doing so, you can analyse the society based under an anthropological perspective based on Cowling’s reding The Artist as Anthropologist In Mid Victorian England: Frith Derby Day, The railway station and the new science of mankind. The author, through visual example made by I, guess William Powell Frith analyse the Phisionaoly of the people, categorising them. Analyse Mention Powell as a figure of anthropologist and chis concepts of physiognomy and phrenology based on his facial illustrations. In painting, the appetite for historical subjects fed into a new genre of ‘modern life subjects’ – pictures which were as complex and storytelling as history paintings but set in the immediate Victorian social milieu. Like many of the Victorian artists seen in the lectures, Frith at first painted ‘historical genre pictures’. You can use a visual description William Powell Frith, The Railway Station, Royal Holloway, University of London, 1862. A particular aim of the presentation is to introduce Cowling’s rethinking (during the revisionist turn of the 1980s) of Frith’s largely forgotten crowd scenes, as representing specific social ideas of the time, hitherto lost.In particular, Cowling argues that these works mirror and provide evidence for the Victorian interest in anthropology, or the new ‘science of mankind’. Employin a perspective largely informed by post-colonial methodologies, Cowling links Victorian interests in anthropology and the classification and recording of human life from distant cultures, to a more localised concern with ‘recording’ social types in Victorian society itself. Accordingly, Frith’s crowd scenes are read as a typology (classification system) of human life. Cowling writes: ‘Victorian anthropology was concerned, equally, with the populations of Britain’s own towns and cities as with those of distant civilisations; and … what that physical nature was taken to indicate of the moral man was the overriding consideration.’ (p.461) Cowling explores the related rise of two pseudoscientific phenomena, physiognomy and phrenology. Popular in the Victorian era, these ‘sciences’ sought to read the moral character (or the lack of it) in the shape of the skull or face.Returning to Cowling’s text, regarding the ‘new science’ of physiognomy, as she admits, few Victorians would have concerned themselves with the detail of James Redfield’s New System … of 1866 [next slide]. Redfield’s diagram allocates human attributes of character (e.g. ‘repulsiveness’; ‘expressiveness’) to different parts of the face and cranium. The more general association of a tall forehead with intelligence and a short, heavy-browed one with ignorance; of a neat chin with sophistication and a protruding lower jaw with ruffian-like qualities, as seen in Well’s diagram [next slide], also of 1866, became more widespread. Strongly informed by racist thinking in response to anthropological ‘recording’ of non-Western peoples in the colonies, these ideas rapidly transferred more locally to the identification of threatening social characters in Victorian society.