By Cynthia Lee Patterson
How did the typical American know about artwork within the mid-nineteenth century? With public artwork museums nonetheless of their infancy, and few towns and cities big enough to help artwork galleries or print outlets, american citizens trusted mass-circulated illustrated magazines. One staff of magazines specifically, recognized jointly because the Philadelphia pictorials, circulated high-quality artwork engravings of work, a few produced completely for stream in those monthlies, to an keen middle-class interpreting viewers. those magazines completed print circulations a long way exceeding these of alternative print media (such as illustrated present books, or catalogs from art-union club organizations). Godey's, Graham's, Peterson's, omit Leslie's, and Sartain's Union journal integrated to 3 effective paintings engravings per month, "tipped in" to the fronts of the magazines, and designed for pull-out and reveal. that includes the paintings of a fledgling staff of yankee artists who selected American instead of ecu issues for his or her work, those magazines have been the most important to the distribution of yank artwork past the purview of the East Coast elite to a common middle-class viewers. Contributions to those magazines enabled many an American artist and engraver to earn, for the 1st time within the younger nation's background, a modest residing via art.Author Cynthia Lee Patterson examines the economics of inventive construction, cutting edge engraving concepts, nearby imitators, the textual "illustrations" accompanying engravings, and the important artists and engravers contributing to those magazines.
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Extra info for Art for the Middle Classes: America's Illustrated Magazines of the 1840s
Which would do credit to the pages of any periodical” (Miss Leslie’s, January 1843, 1). 3 However, Leslie and McMichael were not alone in issuing a challenge to Godey’s and Graham’s: also arriving on the Philadelphia magazine scene was Peterson’s Magazine, launched by Charles Peterson as a cheaper alternative 37 38 I NN OVAT IONS TO GR APH IC A RTS IN T HE PHILA D E LPHIA PIC TOR IA LS to Godey’s. 00/year fee and thereby attract readers of more modest means. This chapter will focus on the technological innovations featured by Miss Leslie’s in 1843 that ignited ﬁerce competition between the Philadelphia illustrated magazines.
By 1843 he had accumulated experience editing two diﬀerent publications: the Baltimore Athenaeum and Young Men’s Paper, a weekly; and The Baltimore Literary Monument, a monthly. Arthur prospered enough to marry, and relocated his family from Baltimore to Philadelphia in 1841, recognizing that the city proclaimed the “Athens of America” would be the best place to earn a living to support his growing family. His didactic domestic ﬁction apparently balanced Leslie’s practical tips on domestic economy (see ﬁg.
39 His next lengthy exchange with Griswold reveals his indignation to learn of George Graham’s “qualiﬁed acceptation” of the pictures he has submitted— Graham apparently authorized the New York engravers Rawdon, Wright & Co. to alter his pictures for the magazine. Chapman fumes: I am somewhat at a loss to understand, precisely, your meaning . . If I mistake not, you ordered that designs be furnished by me for Graham’s Magazine. They have been done, and I can recognize no right or capacity in Messrs Rawdon, Wright & Co.