‘The land and its people’: reflections on artistic identification in an age of nations and nationalism

From the late eighteenth century onwards, increasing numbers of visual artists came to identify with their nations and with the homeland and its people. This development was strongly influenced by growing national cultural support and regulation of the arts by academies, art schools, museums and art markets in Western Europe. On a subjective level, the Rousseauan movement of a ‘return to Nature’, Herder's espousal of vernacular cultural self‐expression and, above all, the widespread Romantic cult of authenticity, were potent influences on the inner self‐identification of visual artists after 1800, and were manifested in the novel importance accorded to landscape and rural genre painting in Western Europe. Here I consider the role of national sentiment, the ‘return to Nature’ and the cult of authenticity, first in landscape paintings by Paul Sandby, J. M. W. Turner and John Constable in early nineteenth‐century Britain, and then in the rural genre paintings of Jean‐Francois Millet and Jules Breton in nineteenth‐century France and Josef Israels, Anton Mauve and Vincent Van Gogh in the later nineteenth‐century Netherlands. Their work reveals how nineteenth‐century visual artists became inwardly identified with the ‘land and its people’, and how they in turn contributed, especially through prints and engravings, to the dissemination of national imagery and a cultural nationalism.     

The Image of the Sámi in Finnish Visual Arts before the Second World War

Abstract

This article examines how Finnish artists depicted the Sámi people in their paintings from the beginning of the nineteenth century to the Second World War. In the first paintings that represented the Sámi, the attitude was very romantic and artists were not interested in knowing the Sámi culture or even in encountering the Sámi people. In the nineteenth century, nationalism required building an image of the Finns, thus most Finnish artists were not interested in the Sámi. The French philosopher Hippolyte Taine's writings influenced the young artist Juho Kyyhkynen, who started to depict the Sámi culture. In the 1920s and 1930s, Sámi were thought to be primitive or Mongolian, so Finnish artists painted relatively few portraits of Sámi. All this time it was only Finnish painters who depicted the Sámi, as the voice and ideas of the Sámi themselves did not become prominent in Finland until the 1970s.     

The Implications of Analytic Philosophy of History for the Practicing Historian

An article by John O'Hagan and Elish Kelly in 2005 (see Historical Methods 38:118-25) discussed collecting information on visual artists that would allow a broad historical ranking based on "prominence." O'Hagan and Kelly collected these data to examine prominent artists' birth locations, work locations, and their consequential patterns of labor movement during several long periods. In this article, the authors examine artists' migration for four periods (based on their date of birth): Renaissance Italy, Europe in the first half of the nineteenth century, and the Western world in general for the periods 1850-99 and 1900-49. The data show that important artists clustered in all periods at a remarkably high level. Florence and Rome dominated in Renaissance Italy, with significant clustering because of the artists' birthplaces and domestic migration. Paris and London witnessed a marked clustering of artists born in the first half of the nineteenth century, with Paris continuing to dominate among artists born in the second half of the nineteenth century. Artists born in the first half of the twentieth century clustered in New York City, with all prominent American artists clustering there.     

Networks and place in Montreal's independent music industry

The significance of networks for independent music producers has been well established in the urban‐economic geography literature and the literature centred on cultural industries. In this article, we seek to build on this literature by considering how place‐based attributes mediate network development; that is to say, how the unique characteristics of place (such as historical and cultural attributes) determine networking outcomes among spatially proximate actors. Specifically, we consider the importance of place through an examination of Montreal's independent music industry. Drawing on 46 semi‐structured interviews with key actors in the industry, we illustrate how Montreal's bilingual identity contributes to network dynamics within the industry.     

‘Concrete bodies’: young Latina women transgressing the boundaries of race and class in white inner-city Stockholm

This article examines young Latina women's interactions in the urban landscape of Stockholm, with a particular focus on white, middle-class areas, and how social difference and racial positioning are produced in and through the processes of urban segregation. Although Stockholm consists of different multiethnic and middle-class white suburbs, a discourse of sharp division between ‘the suburb’ and the inner-city is prevalent in the daily press. Here ‘the suburb’ is either portrayed as dangerous or exotic. This article is based on qualitative research with 29 young Latina women living and attending schools in both the suburban and inner-city areas. This approach facilitates an understanding of how gendered, racialized and classed aspects of segregation are embodied in multiple directions and how mechanisms of spatial exclusion prevail in predominantly white areas – often seen as ‘neutral’ or non-racialized areas. In conclusion, in order to capture the realities of young people's lives within materialized discourses of race and space, I argue that it is crucial to include white settings in the analysis, and experiences of exclusion.     

Erotic Attachment,Identity Formation and the Body Politic: The Woman‐as‐nation in Canadian Graphic Satire, 1867–1914

Using depictions of ‘Miss Canada’ in editorial cartoons and political campaign posters published in English Canada between 1867 and 1914 as a case study, this article argues that the repetitive deployment of feminised and eroticised images of the nation summoned particular gender, sexual and political identities into being and entangled viewers’ psychic investments in masculine, heterosexual and nationalist subjectivities. It also considers how Miss Canada's normative representation as white conflated racial whiteness and Canadian‐ness, and how images hailed viewers into racial subjectivities that were leashed to national identity. Rather than querying how or why the woman‐as‐nation trope elicited nationalist sentiment in an already‐constituted subject, this analysis examines how imagery provoked viewers’ identification with subject positions that were co‐constituted with nationalism. Impassioned and even violent nationalism becomes more comprehensible when we consider that the woman‐as‐nation was capable of producing attachments to national identity that, for some, were inseparable from and tantamount to psychic investments in gender, sexual and racial identities. While Canadian scholars have recognised that Miss Canada was a significant popular culture icon during the long nineteenth century and acknowledged this icon's embeddedness in gender, sexual and national discourses, studies have tended to describe Miss Canada's role in consolidating hegemonic ideologies and power relations and underestimate visual culture's constitutive capacities. The extent of Miss Canada's hetero‐erotic coding has also largely escaped historians’ notice. Although a few scholars have explored visual culture's role in Canadian national identity formation during this era, this study makes a unique contribution by foregrounding the productive work of popular imagery in co‐constituting and entwining national and sexual subjectivities.     

The Practice of Identity and an Irish Sense of Place

Following in the wake of Benedict Anderson's work in particular, cultural geographers and cultural studies scholars have analyzed the nation and nationalism as primarily 'imagined' or abstract entities. Coincidentally, the greatest analytic attention has been given to nationalist representations of place, rather than to the everyday discursive practices constitutive of the nation as lived. Drawing on Pierre Bourdieu's practice theory, in this paper I develop the beginnings of a corporeal approach to the nation. Here the relationship between the practice of identity (the embodiment of gendered and sexualized subjectivities via discursive practice within culturally defined spaces) and an Irish nationalist sense of place is explored. In this approach, analytic considerations of identity and space are collapsed within the shared material and metaphoric medium of the body. Irish nationalism and the nation are analyzed as corporeal materialities via an ethnohistorical focus on late nineteenth-century changes in the political economy of 'peasant' and nationalist bodies. The analysis suggests that a particular matrix of constructions of femininity and masculinity was extended paradigmatically throughout the society in the latter half of the nineteenth century. These paradigmatic changes are characterized as a 'heterosexing' of bodies and places linked to economic change and the rise of the confessional state.     

National stereotypes and music

Music became a marker of national identity in nineteenth‐century Europe. Western art music consists of tonal systems that are universally intelligible, but certain rhythms and musical idioms have been associated with national styles. How, when, and why does a musical phrase or piece become national? What political and cultural circumstances contributed to the development of national styles and facilitated the emergence of resonant topographies? What was the relationship between music as cultural practice and nineteenth‐century national thought as discursive space? These questions are addressed with a particular focus on verbunkos, which came to be characteristic of Hungarian national style, and on the Rákóczy March which became famous thanks to Berlioz's Faust. This essay traces the complex process of cultural transfer through which these martial tunes of mixed ethnic origins have become emblematic of Hungarian music.     

The Secret of England's Greatness

The Secret of England's Greatness is a portrait by Thomas Jones Barker of Queen Victoria meeting an African envoy and presenting him with a copy of the Bible. Painted around 1863, it has become an icon of British imperialism in this period and of the justification of colonial expansion in terms of the transmission of the values of the Bible. As such, the portrait appears confident and unambiguous: the secret of England's greatness is unravelled and the truth is exposed. This article seeks to disturb the apparent absence of mystery in this painted encounter and to examine what remains concealed in the meeting between the white sovereign and the black emissary. Moving from Barker's painting to William Mulready's The Toyseller, which was completed in the same years and depicts a black pedlar trying to sell a wooden toy to a white mother and child, the article uncovers, within the language of painting and its surrounding discourses, a different kind of disturbing and exhilarating secret, concerned with racial identity and mid-Victorian desire. Working from a reading of the surface of the paintings to related representations of blackness in nineteenth-century science and culture, the article considers how The Toyseller negotiates the proximity of the figures of the black pedlar and the white mother and child and the significance of the compositional gap between them and suggests that Mulready's painting visualizes many of the issues that were at the heart of British imperialism in the middle of the nineteenth century, following the abolition of slavery.     

The geography and natural resources of Bolivia

This paper tries to show the main thread of Scottish national identity in the nineteenth century and how Scotland's close connection with the empire did not asuage Scottish desires to retain a national identity. The paper tries to illustrate that the interpretation of the union connection by the Scottish political classes was central to the understanding of Scotland as a nation during the period. Examples are also provided of the way in which the union could be questioned in this century, but this was with the caveat that this would necessarily be limited; for such was the extent to which national identity was played out on an imperial stage. Although Scots never lost sight of their distinctiveness, any extension of the critique of union would have ultimately worked against their ability to confidently display their identity as they did quite successfully in the nineteenth century.     

Resisting the creation of forgotten places: artistic production in Toronto neighbourhoods

This article analyzes semi-structured interviews with contemporary visual artists from Toronto, Canada, to explore the relationship between artists, memory, and place. The focus of the article is on three neighbourhoods in downtown Toronto that have the potential to become forgotten places of artistic production: Yorkville, King Street West and The Junction. Through an analysis of artists' spatially grounded narratives about these three neighbourhoods, I reveal how the intense emotional and material connections that artists have to places have the potential to challenge the loss of collective urban memory. This article contributes to intersecting literatures on neighbourhood change, artistic production and the importance of vernacular memory in urban cultural geography.     

“Strangers are Flocking Here”: Identity and Anonymity in New Orleans, 1810–1860

When the population of New Orleans increased dramatically during the nineteenth century, it became a place of strangers. While historians have documented the experiences of different groups in the city, the nineteenth‐century urban world was defined largely by those unknown, by the strangers one passed in the streets. The present study explores how residents of the city coped with this change by analyzing the meanings they ascribed to strangers. It also illustrates why the ability of a stranger to legitimize his/her identity became a crucial means of escaping scrutiny and obtaining acceptance by society. The essay examines the reception of two groups of strangers: elite travelers who sought to read and interpret the city and its subjects and new residents who sought opportunity and adventure, but instead became alienated from society and castigated as vagrants and suspicious people. Although city residents largely came to terms with the anonymity of city life by the 1850s, this essay explores the preceding decades when strangers invoked both fear and excitement.     

‘To Women in the Year 2000’: Norwegian Historians of Women,c.1900–c.1960

The lives and writings of three women who during the first half of the twentieth century wrote books on women's history are the subject of this article. Ragna Nielsen, a teacher and an amateur historian, in 1904 published her account of women's lives during the first part of the nineteenth century, stressing the sad consequences of patriarchal attitudes, but also the importance of women's contribution to the maintenance of a national identity. Anna Caspari Agerholt and Mimi Sverdrup Lunden, both with masters' degrees in history, belonged to the next generation. Agerholt is mainly remembered for her impressive book of 1927 on the Norwegian women's movement, while Lunden's books of 1942 and 1948 on women's work were important contributions to social history. The writings of these three women's historians are related to dominant positions within Norwegian historiography of their times, highlighting how they helped change central concepts by adding gender to class analysis and to the process of constructing a national identity, stressing the importance of voluntary organisations to the formation of politics and widening the concept of work.     

Monster soup: the microscope and Victorian fantasy

Abstract

The Victorian predilection for the grotesque owed more than is commonly recognised to nature's microdimension. During the heyday of natural history in Britain (c. 1820–70), the microscope revealed myriads of shapes and creatures so utterly unfamiliar that writers on the subject resorted to flamboyant prose in order to render them intelligible. This had reverberations not least for the visual arts. The metaphors chosen by authors attempting to describe the microscopic world soon developed a visual presence, with supernatural features being projected even onto illustrations in supposedly scientific contexts. At the same time, such illustrations share certain motifs and/or stylistic characteristics with fairy paintings and illustrations by artists such as Daniel Maclise (1806–70), Richard Dadd (1817–86), Sir Joseph Noel Paton (1821–1901), and Arthur Hughes (1832–1915). In view of this, the fact that the golden age of British fairy painting coincided chronologically with the Victorian craze for microscopy seems to be the result of more than mere chance. If we acknowledge this, we must also ask whether, in the mid nineteenth century, points of contact between microscopy and the visual arts led to a liberation or else a limitation of fantasy.     

Paris and Panoramic Vision: Lieux de Mémoire,Lieux Communs

From the totalizing perspectives of the panorama to metonymic fragments of a monumental Paris, what is celebrated is representational tradition and innovation. In an ongoing representation of Paris cityscapes, pictorialism of the nineteenth century offers an insight into (and an example of) what has come to be known as lieux de mémoire, while at the same time questioning the legacy through an interrogation of lieux communs. Through painting and photography in the nineteenth and early to mid-twentieth centuries, this article addresses legacies in pictorialism, both in and of the nineteenth century, exploring how this pictorial legacy is interpreted and develops and how, in Hamon's terms, images of Paris increasingly propose ‘des référents “en raccourci”’. The partiality of the representation (in both senses of the term) is evidence both of the cultural prevalence of the legacy and of its potential for reinterpretation.     

The Armada Paintings in the New Palace of Westminster

In June 2008 a team of artists began the gargantuan task of creating the series of Armada mural paintings for the house of lords. They were embarking on a two-year project, which would bring to completion the original decorative scheme planned for the prince's chamber by the Royal Commission on Fine Arts ¹ during the 1840s. This, in turn, would reconnect the original historical association, which the Armada tapestries had held with the house of lords since the mid 17th century until their destruction by fire in 1834. This article places these Armada mural paintings within the historical context of this project at the Palace of Westminster and documents some of the methodology behind the programme of work to re-create this celebrated series for the walls of the house of lords.     

A Picture of the Floating World: Grounding the Secessionary Affluence of the Residential Cruise Liner

Abstract:  A quarter century of financial deregulation, robber-baron corporatism and growing income polarisation has enabled the spatial partitioning of urban space into new and complex arrangements of micro-neighbourhood governance and privatism. These archipelagos of fortress homes and neighbourhoods increasingly lie outside the spaces of conventional state and city government. Yet while residential spaces of urban affluence have been unable to fully remove contact with the social diversity of the public realm, nomadic forms of super-affluence, flowing around a global–national urban system, have generated a form of networked extra-territoriality—a social space decoupled from the perceived risks and general dowdiness of the social world beneath it. This paper examines this space via the curious case of The World , a large residential cruise ship which, as its name suggests, roams the oceans and ports of the globe. Our title is taken from the name given to Japanese paintings of the new affluence and fantasy of life lived by the affluent and artists in late nineteenth century Japanese cities ( O Ukiyo E , or pictures of the floating world). We suggest that The World forms a similarly disconnected realm, not only literally afloat, also detached from the reality of a world that has been strategically left behind.     

Defining the nation: Recent historiography and Irish nationalism

This article considers problems raised in recent historical scholarship concerning the definition of Irish national identity. Catholicism's growing importance in this identity is shown by comparing the eighteenth century United Irishmen, who combined secular and sectarian republicanism, the romantic nationalism of the nineteenth century Young Ireland movement, and the almost exclusively Catholic Irish Republican Army of this century. However, this Catholic, Gaelic, separatist identity excluded Protestant, non‐Gaelic and unionist Irish people. The author concludes by rejecting the notion of ‘an immemorial Irish nation, unfolding holistically through the centuries’, to stress discontinuities over time and the wider geographical setting of the British Isles.