Stuart Sillars is Professor of English at the Universities of Bergen and Agder, Norway. He has written extensively on literature and the visual arts, and his most recent books are Painting Shakespeare: The Artist as Critic, 1720–1820 (2006) and The Illustrated Shakespeare, 1709–1875 (2008), both published by Cambridge University Press. Earlier books have explored visual and literary art in the two world wars, illustration and the Victorian novel and the special forms of irony involved in English writing of the early twentieth century.

• 1. History, theatre and Shakespeare; 2. Dress, attribute and image; 3. Pre-Raphaelite Meridian; 4. Charles Kean, staging and time; 5. Memorialising performance; 6. Ars et Veritas: photography and the Victorian stage; 7. Fragmentation, excision and dispersal; 8. Painting beyond Pre-Raphaelitism; 9. Later stagings and the debate with painting; 10. Encounters and memories; Select bibliography.

'… an exhilarating gallery of Shakespearean images as these featured on the nineteenth century stage, as well as on canvas and print. This richly illustrated book offers new insights into Victorian cultural history, as Shakespeare the chronicler of the past morphs into Shakespeare the timeless moralist … Specialists in art and theatre history will revel in the range and scholarship of this engaging analysis.' Catherine Belsey, Swansea University

Stuart Sillars is Professor of English at the Universities of Bergen and Agder, Norway. He has written extensively on literature and the visual arts, and his most recent books are Painting Shakespeare: The Artist as Critic, 1720–1820 (2006) and The Illustrated Shakespeare, 1709–1875 (2008), both published by Cambridge University Press. Earlier books have explored visual and literary art in the two world wars, illustration and the Victorian novel and the special forms of irony involved in English writing of the early twentieth century.

• 1. History, theatre and Shakespeare; 2. Dress, attribute and image; 3. Pre-Raphaelite Meridian; 4. Charles Kean, staging and time; 5. Memorialising performance; 6. Ars et Veritas: photography and the Victorian stage; 7. Fragmentation, excision and dispersal; 8. Painting beyond Pre-Raphaelitism; 9. Later stagings and the debate with painting; 10. Encounters and memories; Select bibliography.

'… an exhilarating gallery of Shakespearean images as these featured on the nineteenth century stage, as well as on canvas and print. This richly illustrated book offers new insights into Victorian cultural history, as Shakespeare the chronicler of the past morphs into Shakespeare the timeless moralist … Specialists in art and theatre history will revel in the range and scholarship of this engaging analysis.' Catherine Belsey, Swansea University

Stuart Sillars is Professor of English at the Universities of Bergen and Agder, Norway. He has written extensively on literature and the visual arts, and his most recent books are Painting Shakespeare: The Artist as Critic, 1720–1820 (2006) and The Illustrated Shakespeare, 1709–1875 (2008), both published by Cambridge University Press. Earlier books have explored visual and literary art in the two world wars, illustration and the Victorian novel and the special forms of irony involved in English writing of the early twentieth century.

• 1. History, theatre and Shakespeare; 2. Dress, attribute and image; 3. Pre-Raphaelite Meridian; 4. Charles Kean, staging and time; 5. Memorialising performance; 6. Ars et Veritas: photography and the Victorian stage; 7. Fragmentation, excision and dispersal; 8. Painting beyond Pre-Raphaelitism; 9. Later stagings and the debate with painting; 10. Encounters and memories; Select bibliography.

'… an exhilarating gallery of Shakespearean images as these featured on the nineteenth century stage, as well as on canvas and print. This richly illustrated book offers new insights into Victorian cultural history, as Shakespeare the chronicler of the past morphs into Shakespeare the timeless moralist … Specialists in art and theatre history will revel in the range and scholarship of this engaging analysis.' Catherine Belsey, Swansea University