Art versus Industry?

Kate Nichols is Birmingham Fellow in British Art in the Department of Art History, Curating and Visual Studies at the University of Birmingham; Rebecca Wade is Assistant Curator (Sculpture) at Leeds Museums and Galleries; Gabriel Williams received his PhD on relations between sculpture, industry and international exhibitions from the University of York in 2015. He is an independent researcher and teaches art history in schools.

• 1 Art versus industry? An introduction – Kate Nichols and Rebecca WadePart I: The art/industry divide: nineteenth-century representations2 Lace, ladies and labours lost: the meanings of handicraft in Victorian and Edwardian Britain – Lara Kriegel3 Art, accuracy and the anaglyptograph: a debate about the mechanical translation of sculptures – Gabriel Williams4 ‘Why are the painted windows in the industrial department?’: the classification of stained glass at the London and Paris International Exhibitions, 1851–1900 – Jasmine Allen5 William Blake, the arts and crafts movement and the mythography of manufacture – Colin TroddPart II: Art and new technologies6 Repetition, virtuality and mechanical pattern: the significance of the kaleidoscope for the ‘fine and useful arts’ – Nicole Bush7 ‘Mere adventurers in drawing’: engineers and draughtsmen as visual technicians in nineteenth-century Britain – Frances Robertson8 Industrialised graphic technologies in symbiosis with the world of art: the Illustrated London News and the Graphic c.1870–90 – Tom Gretton9 True ornament? The art and industry of electric lighting in the home, 1889–1902 – Graeme Gooday and Abigail Harrison MoorePart III: Resituating design reform and art education10 Building a better class of craft practitioner: ideals and realities in sculptural practice and the building industry c.1880–1910 – Ann Compton11 ‘A fraught challenge to the status quo’: the 1883–4 Calcutta International Exhibition, conceptions of art and industry and the politics of world fairs – Renate Dohmen12 The industry of colour: art, design and dyeing between Britain and India, 1851–96 – Natasha Eaton13 Surface deceits: Owen Jones and John Ruskin on the ornament of the Alhambra – Lara EggletonIndex

‘There is a substantial amount of significant new research on offer here, framed within a wide-ranging demonstration of the socio-political reach of contemporary design history. The authors are an interesting combination of curators and academic art historians, some well-established, others from a new generation of young scholars, and several with cross-disciplinary backgrounds.’Brian Maidment, Liverpool John Moores University, Victorian Studies, Vol. 59, No. 4