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dc.contributor.authorDootson, Kirsty Sinclair
dc.identifier.citationDootson , K S 2019 , ' The texture of capitalism : industrial oil colours and the politics of paint in the work of G. F. Watts ' , British Art Studies , no. 14 .
dc.identifier.otherPURE: 264038136
dc.identifier.otherPURE UUID: 79612ab5-4077-4d44-9518-49a625fb414b
dc.description.abstractThis article considers how the industrial production of artists’ colours, or oil paint, in the second half of the nineteenth century affected artistic practice. The transformation of paint-making from an artisanal craft into an industrial process did not change the hue or saturation of colours, but radically altered their texture. It was through the materiality of their paints that artists became aware of the impact industrialisation had upon their practice; texture itself became a flashpoint for debates about the effect of capitalist modernity on painting in particular and society more broadly. This article examines how the painter George Frederic Watts mobilised the texture of his paints to articulate an anti-capitalist, moral aesthetic at a time when mass production made oil colours homogenously buttery and smooth, as well as fugitive and unstable.
dc.relation.ispartofBritish Art Studiesen
dc.rightsCopyright © 2019 The Author(s). Open Access. this work is licensed under a Creative Commons Attribution-NonCommercial licence. To view a copy of this licence, visit:
dc.subjectVictorian paintingen
dc.subjectBritish arten
dc.subjectDA Great Britainen
dc.subjectND Paintingen
dc.subjectT Technologyen
dc.titleThe texture of capitalism : industrial oil colours and the politics of paint in the work of G. F. Wattsen
dc.typeJournal articleen
dc.description.versionPublisher PDFen
dc.contributor.institutionUniversity of St Andrews. Film Studiesen
dc.description.statusPeer revieweden

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