The Portfolio: Difference between revisions
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==History== |
==History== |
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The mid-nineteenth century in France and Britain saw a rise in the interest in etching. Hamerton had spent the 1860s in France with his French wife, Eugénie. The impetus for the launch of ''The Portfolio'' came in the wake of the foundation in Paris of the Société des aquafortistes in 1862, and to a lesser extent from the longer established [[Etching Club]] from 1838. Etchings by many French etchers such as [[Paul Adolphe Rajon|Paul Rajon]] (1843–1888), [[Alfred-Louis Brunet-Debaines|Alfred Brunet-Debaines]] (1845–1939), and [[Benjamin Damman]] (1835–1921) were a marked feature of the publication. Indeed, ''The Standard'' remarked in 1874 that the |
The mid-nineteenth century in France and Britain saw a rise in the interest in etching. Hamerton had spent the 1860s in France with his French wife, Eugénie. The impetus for the launch of ''The Portfolio'' came in the wake of the foundation in Paris of the Société des aquafortistes in 1862, and to a lesser extent from the longer established [[Etching Club]] from 1838. Etchings by many French etchers such as [[Paul Adolphe Rajon|Paul Rajon]] (1843–1888), [[Alfred-Louis Brunet-Debaines|Alfred Brunet-Debaines]] (1845–1939), and [[Benjamin Damman]] (1835–1921) were a marked feature of the publication. Indeed, ''The Standard'' remarked in 1874 that the publication's "speciality, as probably most people know, is the etchings with which it is adorned."<ref>''[[Evening Standard|The Standard]]'', 23 December 1874, p.5.</ref> Rajon published twelve etchings in the periodical before his untimely death.<ref>'Twelve etchings contributed to the ‘Portfolio’ by Paul Adolphe Rajon: with Memoir and Notes by F. G. Stephens', ''Athenæum'', March 23, 1889, [https://books.google.co.uk/books?id=qcU5AQAAIAAJ&pg=PA381 p. 381]</ref> ''[[The New York Times]]'' lavished praise on the publication when, in 1875, it remarked that it could not "eulogize too highly the merits of this periodical in all its departments. It is, without question, the most beautiful in regard to illustration which emanates from the press."<ref>'New Publications', ''[[The New York Times]]'', 23 March 1875, p.10.</ref> |
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The late nineteenth-century British author [[George Gissing]] wrote in his diary for December 1895 (sic.) that he took the magazine for his son, because of its good pictures.<ref>Coustillas, Pierre ed. ''London and the Life of Literature in Late Victorian England: the Diary of George Gissing, Novelist'' (Brighton: Harvester Press, 1978), p.396.</ref> In a survey of the [[etching revival]] in 1878 the ''[[The Magazine of Art|Magazine of Art]]'' highlighted the centrality of Hamerton and his monthly magazine which had "so ably and unceasingly pleaded the cause of etching" in Britain.<ref>[[Marcus Bourne Huish]], 'Etching in England: I', ''Magazine of Art'', 1878, pp.146–48 (148).</ref> |
The late nineteenth-century British author [[George Gissing]] wrote in his diary for December 1895 (sic.) that he took the magazine for his son, because of its good pictures.<ref>Coustillas, Pierre ed. ''London and the Life of Literature in Late Victorian England: the Diary of George Gissing, Novelist'' (Brighton: Harvester Press, 1978), p.396.</ref> In a survey of the [[etching revival]] in 1878 the ''[[The Magazine of Art|Magazine of Art]]'' highlighted the centrality of Hamerton and his monthly magazine which had "so ably and unceasingly pleaded the cause of etching" in Britain.<ref>[[Marcus Bourne Huish]], 'Etching in England: I', ''Magazine of Art'', 1878, pp.146–48 (148).</ref> |
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Revision as of 17:24, 25 January 2022
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The Portfolio was a British monthly art magazine published in London from 1870 to 1893.[1] It was founded by Philip Gilbert Hamerton and promoted contemporary printmaking, especially etching, and was important in the British Etching Revival. Early contributors included Joseph Beavington Atkinson (1822–1886), Francis Turner Palgrave (1824–1897) and Sidney Colvin (1845–1927).
History
The mid-nineteenth century in France and Britain saw a rise in the interest in etching. Hamerton had spent the 1860s in France with his French wife, Eugénie. The impetus for the launch of The Portfolio came in the wake of the foundation in Paris of the Société des aquafortistes in 1862, and to a lesser extent from the longer established Etching Club from 1838. Etchings by many French etchers such as Paul Rajon (1843–1888), Alfred Brunet-Debaines (1845–1939), and Benjamin Damman (1835–1921) were a marked feature of the publication. Indeed, The Standard remarked in 1874 that the publication's "speciality, as probably most people know, is the etchings with which it is adorned."[2] Rajon published twelve etchings in the periodical before his untimely death.[3] The New York Times lavished praise on the publication when, in 1875, it remarked that it could not "eulogize too highly the merits of this periodical in all its departments. It is, without question, the most beautiful in regard to illustration which emanates from the press."[4]
The late nineteenth-century British author George Gissing wrote in his diary for December 1895 (sic.) that he took the magazine for his son, because of its good pictures.[5] In a survey of the etching revival in 1878 the Magazine of Art highlighted the centrality of Hamerton and his monthly magazine which had "so ably and unceasingly pleaded the cause of etching" in Britain.[6]
References
- ^ Hamerton, Philip Gilbert (1870–1893). "The Portfolio: an artistic periodical". The Portfolio: 248 no. ISSN 2043-572X.
- ^ The Standard, 23 December 1874, p.5.
- ^ 'Twelve etchings contributed to the ‘Portfolio’ by Paul Adolphe Rajon: with Memoir and Notes by F. G. Stephens', Athenæum, March 23, 1889, p. 381
- ^ 'New Publications', The New York Times, 23 March 1875, p.10.
- ^ Coustillas, Pierre ed. London and the Life of Literature in Late Victorian England: the Diary of George Gissing, Novelist (Brighton: Harvester Press, 1978), p.396.
- ^ Marcus Bourne Huish, 'Etching in England: I', Magazine of Art, 1878, pp.146–48 (148).