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Index
Cover
Half Title
Title
Copyright
Contents
List of Illustrations
List of Tables
Acknowledgments
Dedication
Introduction: ‘Profession’ and the social history of watercolours
I Contentions
1 The development and maintenance of the media hierarchy: watercolours, oils and the Royal Academy
Problems of identity and definition: watercolour enters the public domain, 1760–1768
Watercolourists and their work at the Royal Academy, 1768–C.1812
Watercolour versus oil, c.1800–1824
2 Dangerous associations 1: watercolour and artisanal practices
Replication, mass production, mechanisation, and the division of labour: the status of watercolour practice compromised
Watercolourists and artisans: defending borders and transcending boundaries
3 Dangerous associations 2: professionals and amateurs
A troubling presence: the amateur in the public domain
Charlatans, masters, and drudges: the watercolourist as a teacher
Encouraging emulation and maintaining distinctions
II Alliances
4 Creating new markets for watercolours
The ‘painting in water colours’: the emergence of a fashionable and modern commodity, c. 1790–1805
Diversification and specialisation: new subject types, c. 1805–1824
Embracing commerce: the exhibitions of the Society of Painters in Water Colours, 1805–1824
A middle-class market emerges?
5 Establishing professional status and identity, c. 1795–1824
Two contrasting alliances: the watercolour societies and the professional ideal
The ‘progress of water colours’: a triumph for the English School, 1805–1824
The watercolourist as genius
Conclusion: Watercolourists and their art in 1824
Select bibliography
Index
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