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Abstract
The unprecedented popularity of history in Victorian England was reflected in the visual arts by the proliferation of historical genre paintings. With its anecdotal charm and meticulous archaeological accuracy, Barker's Studio of Salvator Rosa is a typical example. While such paintings are frequently disparaged today as mere illustrations, some contain meanings that are no longer recognized by the modern audience. Analysis of this example demonstrates how Barker, working within the Victorian tradition of arguing by historical analogy, adapted the conventions of anecdotal history painting to create an image that functions simultaneously as historical recreation and as an expression of sympathy for the Italian Risorgimento.
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Notes on contributors
Bernard Barryte
Bernard Barryte is Curator of European Art at the Memorial Art Gallery of the University of Rochester. He is presently collaborating with Norman Bryson on an exhibition of still-life painting from museums in upstate New York, and is engaged on research for a planned exhibition entitled “Manufactured Memories: Historical Painting in Nineteenth-Century Europe.” [Memorial Art Gallery of the University of Rochester, Rochester, NY 14607]