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Wood Engraving and the Future of Word-Image Narratives: The Dalziel Family, 1839-1893

木版画与文字图像叙事的未来：Dalziel 家族，1839-1893 年

基本信息

批准号：
AH/M008584/1
负责人：
Bethan Stevens
金额：
$ 19.11万
依托单位：
University of Sussex
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2015
资助国家：
英国
起止时间：
2015 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FM008584%2F1
关键词：
Wood Engraving Future Word Image

项目摘要

The Dalziel Brothers were the largest 19th-century wood engraving firm in Britain, and their archive of 54,000 prints in 49 albums is a phenomenal resource for a well loved aspect of Victorian culture. It includes the printmakers' proofs of the illustrations to Lewis Carroll's 'Alice's Adventures in Wonderland' (1865, fig. 1), as well as the Pre-Raphaelite illustrations to Tennyson's 'Mariana' and 'The Lady of Shalott' (1857, fig. 2), objects of immense importance to visual and literary culture. Despite their huge achievements, there has never been a full-length study of the Dalziels. Instead, scholars tend to focus on the designers of the images, artists who made the preparatory pencil drawings before the blocks were engraved: for the illustrations mentioned above, John Tenniel, Dante Gabriel Rossetti and John Everett Millais. This project investigates the Dalziels and their radically collaborative methods of commissioning and engraving works of art. It asks who the Dalziels were, examining the little acknowledged contributions of women family-members and anonymous employees. The Dalziels had great cultural power at a key moment in history, as Britain's largest publishers of printed images - everything from Dickens and Trollope illustrations to scientific images of molluscs and calf foetuses (fig. 7), and adverts for soap or cocoa. This was a time when wood engraving was the ubiquitous technique. Invented in the early 19th century, wood engraving was different from the earlier woodcut; cut on boxwood (an extremely hard wood), and using the endgrain rather than plank, it was capable of much finer detail, so that it could compete technically with copper and steel engravings. It was also far cheaper to print. Like no other visual medium then known, wood engraving was capable of extraordinary detail combined with cheap mass production (for most of the century photography was too expensive for widespread use). My project investigates the role of the Dalziels at the head of this industry, and the nature of their cultural influence.My primary research material is the Dalziel Archive. Held in the British Museum, this vital but scarcely used resource has proof impressions of all Dalziel images, collected in albums from 1839 to 1893. As engravers' proofs, they were printed with care, often finer than published impressions. The albums are astonishing for the visual qualities, not only of the famous highlights mentioned above, but of many stunning prints never before exhibited. For example, the archive includes an arresting illustration, 'Rizpah' (1857, fig. 3), engraved by the Dalziels after Tenniel. It shows a bereaved mother from the Old Testament, her haggard face brilliantly lit, who stares bleakly at at the viewer from a gothic landscape. Exhibiting and interpreting images like this for the first time since they were produced, I will offer a much-needed account of wood engraving that explores its techniques and aesthetic. I will also make a new intervention in our theoretical understanding of how text and illustrations relate to one another.This two-year project invests in my career development, as well as in this important new research area. It will enable me to develop vital skills as a research leader, managing an interdisciplinary project with multiple collaborators for the first time. I will publish a monograph exploring the Dalziel family, and the way book illustrations were read and used in the 19th century and beyond. I will curate a display in the British Museum which explores the same themes. A conference will allow for shared research, bringing together different intellectual perspectives. An illustrated, online catalogue, to be published on the British Museum's website, will make the Dalziels' work accessible for this first time. Finally, I will lead a series of open critical and creative workshops that will introduce the Dalziels to new audiences and promote new ways of responding to their art.

达利兄弟是英国最大的19世纪木刻公司，他们在49本相册中的54，000张版画档案是维多利亚文化中备受喜爱的一个方面的非凡资源。它包括刘易斯卡罗尔的《爱丽丝梦游仙境》（1865年，图1）的插图的版画家校样，以及丁尼生的《玛丽安娜》和《夏洛特夫人》（1857年，图2）的拉斐尔前派插图，这些插图对视觉和文学文化具有极其重要的意义。尽管他们取得了巨大的成就，但从来没有对达尔泽尔进行过全面的研究。相反，学者们倾向于关注图像的设计者，即在雕刻之前制作铅笔素描的艺术家：上面提到的插图，约翰·坦尼尔，但丁·加布里埃尔·罗塞蒂和约翰·埃弗雷特·米莱。这个项目调查了达尔泽尔夫妇及其委托和雕刻艺术品的激进合作方法。它询问了达尔泽尔夫妇是谁，研究了女性家庭成员和匿名员工的鲜为人知的贡献。达尔泽尔家族在历史的关键时刻拥有巨大的文化影响力，他们是英国最大的印刷图像出版商--从狄更斯和特罗洛普的插图到软体动物和小牛胎儿的科学图像（图7），以及肥皂或可可的广告。这是一个木版画是无处不在的技术的时代。发明于世纪早期的木刻不同于早期的木刻;它是在黄杨木（一种非常坚硬的木材）上切割的，使用的是端纹而不是木板，它能够表现出更精细的细节，因此它可以在技术上与铜和钢雕刻相竞争。印刷也更便宜。与当时已知的其他视觉媒介不同，木刻能够将非凡的细节与廉价的大规模生产相结合（在世纪的大部分时间里，摄影太昂贵而无法广泛使用）。我的项目是调查达尔泽尔家族在这个行业中的作用，以及他们文化影响的本质。我的主要研究材料是达尔泽尔档案。大英博物馆收藏了这一重要但很少使用的资源，其中包含了1839年至1893年收集在相册中的所有Dalkirk图像的证明印象。作为雕刻师的样张，它们被小心地印刷，往往比出版的印模更精细。这些专辑的视觉质量令人惊讶，不仅是上面提到的著名亮点，而且还有许多以前从未展出过的令人惊叹的版画。例如，档案包括一个引人注目的插图，“Rizpah”（1857年，图3），由Dalziels在Tenniel之后雕刻。它展示了《旧约》中一位丧子之痛的母亲，她憔悴的脸被明亮的灯光照亮，她从哥特式的风景中凄凉地凝视着观众。自制作以来，我第一次展示和解释这样的图像，我将提供一个急需的木刻说明，探索其技术和美学。我还将对我们对文本和插图如何相互关联的理论理解进行新的干预。这个为期两年的项目投资于我的职业发展，以及这个重要的新研究领域。它将使我能够发展作为研究领导者的重要技能，第一次与多个合作者管理跨学科项目。我将出版一本专著，探讨达利家族，以及书籍插图在世纪及以后的阅读和使用方式。我将在大英博物馆策划一个展览，探讨同样的主题。会议将允许共享研究，汇集不同的知识观点。大英博物馆网站上发布的一份插图在线目录将首次让达尔齐尔夫妇的作品触手可及。最后，我将领导一系列开放的批判性和创造性的研讨会，将Dalziels介绍给新的观众，并促进回应他们的艺术的新方式。