British Painting Research Articles

Port City Architecture

This article addresses the role and the importance of the 19th-century narratives and depictions of port cities in contemporary architectural design with a specific focus on paintings. In the last decades, cities the world undertook a large number of urban regeneration projects along waterfronts. In this way, vacant sites on waterfront areas became an opportunity to apply contemporary architectural design; however, many of those projects resulted in generic buildings failing to establish relationships with their landscape, environs, and the history of port cities. High-rise buildings, for instance, began to dominate waterfronts in many of the port cities (e.g., in London, Liverpool, Rotterdam, Baltimore). The land was simply used as a “site” by developers, and the contemporary architectural design failed to address the specificity of the architecture and caved in to the demands which had little to do with the possibilities of place. This article showcases a library and concert hall project realised in Bodo, Norway, to provide insight into an alternative model, where the architecture is situated specifically in response to the port condition and acts as a mediator between port, city and landscape. An interview with the architect Daniel Rosbottom, founder of the architecture firm DRDH which designed the project, provided insight into the design process. As Rosbottom elaborated broadly, a 19th-century painting of church San Giorgio Maggiore in Venice h, by the English painter J.M.W Turner was used as an inspiration for the design process. The embedded knowledge in the painting informed the project at various levels and turned a site into a place on the waterfront of Bodo. The design process analysis reveals similarities and significance of paired relations between artworks and architectural design and hints that the remedy of the contemporary architectures in port cities may lie in port cities’ own (immaterial) resources.

Обзор монографии Десмонда Морриса «Позы. Язык тела в искусстве»

В статье приводится обзор последней книги выдающегося британского художника, искусствоведа и ученого Десмонда Морриса «Позы. Язык тела в искусстве». Лондон: Издательство Thames & Hudson. Объем: 320 с. Иллюстрации: 300. Дата публикации: 24 октября 2019 г. ISBN: 9780500023556. Твердая обложка.

Falling dance: Hijikata’s recomposition of the body via Bacon

ABSTRACT The themes of transformation, indefinite form, and disintegration haunt the work of many post-World War II artists, who had witnessed the animality of human beings as well as the depths to which human beings can fall in wartime. This paper looks at falling as an artistic and phenomenological practice of the body in the work of the Japanese butoh dancer Tatsumi Hijikata, whose notations refer in places to the work of the Irish-born British painter Francis Bacon and offer new bodily lexicons with which to graph the movement of falling. Drawing explicitly on Bacon and using cross-media collage to produce movement, a body in Hijikata could be deformed or made formless onto the ground. In falling, inhabiting and simultaneously vacating oneself, the body makes contact with a surface and leaves or exteriorizes a graphic mark, visual, and performative, in its wake. This attention to falling was part of an ongoing process at the rise of phenomenological boom in postwar Japan by which artists attempted to understand and recompose the kind of body that could inhabit the nuclear age.

British Sociability in the Long Eighteenth Century: Challenging the Anglo-French Connection ed. by Valérie Capdeville and Alain Kerhervé

Reviewed by: British Sociability in the Long Eighteenth Century: Challenging the Anglo-French Connection ed. by Valérie Capdeville and Alain Kerhervé James Harriman-Smith Valérie Capdeville and Alain Kerhervé, eds., British Sociability in the Long Eighteenth Century: Challenging the Anglo-French Connection ( Rochester, NY: Boydell & Brewer, 2019). Pp. 320; 10 b/w illus. $115.00 cloth. In Marie-Madeleine Martinet's reading of The Exact Surveigh of the Streets Lanes and Churches Contained within the Ruin of the City of London (1666), what appear as voids—courtyards, quadrangles, and so on—"were the significant meeting points," and thus a negative expression of the "marks of sociability" (36). In Elisabeth Martichou's study of French and English painting academies, we learn that "the grotesque representation of artistic sociability was more pronounced in England than in France" (105). Through Pierre-Yves Beaurepaire's investigations of masonic archives, we discover the extraordinary efforts that the freemasons of Brest took to place their lodge under the jurisdiction of both the Grand Orient de France and the Grand Lodge of England. Annick Cossic-Péricarpin argues that Thomas Smollett's championing of cold-water baths "redefined British sociability" in less foppish terms (142). And Norbert Col relays Mary Shackleton's portrait of Edmund Burke, "this inimitable man … mixing with his own hands pills for the sick poor" (243). The variety of these vignettes and arguments demonstrates the welcome range of work that appears in Valérie Capdeville and Alain Kerhervé's edited collection. The contributors themselves are regrettably a little less varied: they are all in permanent positions at universities in the UK, North America, or France, and none appear to be early career academics. This is partly, I suspect, a result of the book's genesis in a series of conferences held in 2014–15 on British sociability, and the sociable and academic network the editors describe as forming there. From this network come fourteen essays, whose aim is presented to us as follows: to investigate the origins and evolutions of sociability in Britain in the long eighteenth century by challenging the hegemony of the French model of sociability and establishing the ways and means by which a form of national sociability evolved in the British Isles in the long eighteenth century. (4) The relationship between this statement and the concept of "British sociability" is complex. As Michèle Cohen observes in her foreword, this collection's aim of "challenging the hegemony of the French model of sociability" aligns with Roy Porter's argument, in his Enlightenment: Britain and the Creation of the Modern World (2000), that Britain was the true home of modernity. At the same time, though, there is a limit here on what "Britain" means. While this statement does not deny that "British sociability" might also have evolved outside of the British Isles (a passage in the volume's conclusion takes up this possibility by mentioning British colonies), it does inform us that the bulk of this volume's investigation into the "origins and evolutions of sociability in Britain" will be focused on the British Isles. The final sentence of the introduction adds another layer of complexity to the claim that "a form of national sociability" evolved in this geographical area between (roughly) 1660 and 1830. A British model of sociability progressively took shape from the Restoration period and developed throughout the eighteenth century, defining [End Page 509] itself thanks to exchanges and tensions with France and expressing itself through paradoxes that both reflected and constructed the national character. (4) Perhaps inevitably, there is something apparently circular about this statement. "A British model of sociability" expresses itself in a way that "both reflected and constructed the national character," and thus, presumably reflected and constructed something that might very well define the Britishness of British sociability. Of course, a strict definition of "British sociability" as that sociability which evolved in the British Isles would prevent this, by setting the relative solidity of "British Isles" against the more nebulous (and politically fraught) terms of Britain and British. To do so, though, would deny much of the interest of the topic of this collection. It is a good thing, therefore, that, throughout...

КУЛЬТУРНО-МИСТЕЦЬКІ ВІДНОСИНИ ВІЗАНТІЇ ТА АНГЛІЇ В ЕПОХУ РАННЬОГО СЕРЕДНЬОВІЧЧЯ

The purpose of the article is to consider the dynamics of development and special features of artistic and cultural relations between the Byzantine Empire and England in the early Middle Ages; to find out the ways of the dissemination of the Byzantine culture; to characterise the activities of missionaries, clergy, and Kings of England who contributed to the interpenetration of cultures. The research methodology consists of the general scientific principles of historicism and systematic approach. The article applies general scientific and theoretical methods: source studies – to study the historical prerequisites for the formation of artistic and cultural relations between the Byzantine Empire and England in the early Middle Ages; analysis – to establish the influence of the Byzantine art on the development of art in England; systematisation – to understand the processes of development of cultural and trade relations of the countries in the specified period. The scientific novelty of the article lies in the fact that for the first time in Ukrainian historiography, it examines the influence of Byzantine culture on the culture of England in the early Middle Ages, which is a part of the Romano-Germanic civilization tradition. Conclusions. It has been revealed that in different historical periods the nature of relations between the Byzantine Empire and England underwent a transformation. The article confirms the hypothesis that for several centuries after the fall of “Roman Britain”, the south of Britain continued to remain in the sphere of influence of Byzantium, its partially isolated part. The recognition of Byzantium as the centre of Christianity stimulated the interest of English artists, sculptors and icon painters in Byzantine art and the Byzantine influence could be traced in their works. It has been proved that Britain maintained a constant interest in Byzantine art, transmitting and refracting the traditions of Byzantium through the prism of its national traditions. However, Byzantium conceptually rejected the cultural achievements of England and the West, demonstrating its closed nature, preventing the penetration of foreign elements from the outside. Cultural integrity dominated cultural assimilation.

Mapping Henry: Dendrochronological Analysis of a Sixteenth-Century Panel Painting Based Upon Synchrotron-Sourced X-ray Fluorescence Mapping

ABSTRACT The study of materials that comprise artworks significantly contributes to understanding of age and provenance. While dendrochronology is a particularly valuable and well-established technique for panel paintings comprising oak timber, conventional practices of resurfacing end-grains to reveal tree rings is becoming less acceptable because it removes material, modifying the painting. Recently, application of non-destructive X-ray fluorescence (XRF) spectroscopy to a portrait of Henry VIII held by the Art Gallery of New South Wales (AGNSW), Sydney, Australia revealed tree-ring boundaries in the resulting high-resolution elastic scatter XRF map. In this study, we examine the dendrochronological potential of that mapping with the aim of contributing to resolving the relationship of the AGNSW portrait to similar paintings elsewhere. Examination of the timber revealed affinities with Quercus petraea (Matt.). We measured tree-ring widths along multiple paths in the XRF scatter map and crossdated the resulting 81-year XRF ring-width (XRF portrait ) series against master chronologies of English, western European, and Baltic origin. Rather than an arbitrarily defined threshold, we used a Bonferroni correction to determine a minimum significance level for crossdating. While the XRF portrait series did not crossdate with the continental European chronologies, we identified a single significant (α = 3.4 × 10−6) dating position with the English chronology (1400–1480 CE). Cross-matching with site-level chronologies revealed a cluster of high t-values in central-southern England. The earliest date of felling precedes the documented date of completion for the AGNSW and two similar Tudor portraits of Henry VIII held by the National Portrait Gallery (NPG), London and one at the Society of Antiquaries, London. While the apparent British provenance of timber used in the AGNSW portrait contrasts to Baltic origin of timbers used for the two NPG portraits and the majority of English panel paintings, it is consistent with the provenance of the timber used for the Society of Antiquaries portrait.

Los dibujos de John Gilbert para el Quijote. Modelo iconográfico para la decoración de las lozas de la Real Fábrica de Sargadelos

La Real Fábrica de Sargadelos (Cervo-Lugo), uno de los centros cerámicos de referencia en el panorama industrial del siglo XIX en España, introdujo en su tercera etapa (1845-1862) una nueva serie decorativa en la que el motivo principal reproducía, mediante la técnica de estampación, distintas escenas del Quijote. Considerada por muchos como una de las más interesantes de su producción, utilizaron como modelo iconográfico para su elaboración los dibujos que el pintor e ilustrador inglés John Gilbert (1817-1897) realizó para una edición londinense de la novela publicada por Charles Daly en 1842. Como ejemplo de esta variante se conservan en la actualidad un número de piezas que no supera las noventa entre colecciones particulares e instituciones públicas, destacando en el segundo caso el Museo de Pontevedra con diez ejemplares.

Refugees, Patriotism, and Hogarth’s The Gate of Calais (1748)

AbstractThe subject of this paper is a famous satirical painting of the French by the British painter William Hogarth (1697–1764). Hogarth’s The Gate of Calais has long proved to be an effective conduit for national sentiment. Deploying an inter‐disciplinary analysis, the paper argues that Hogarth’s satire draws on a cultural heritage that originated within French refugee communities writing to discredit politics ‘back home’. Understood from this perspective, the painting demonstrates how the cultural materials of a French ethnic minority can become woven into the meta‐narrative about Britishness and then, in turn, become generative of meaning for broader communities of transnationalized Protestants, not just for the British themselves.

Jonathan Leaman: In Conversation

Abstract Jonathan Leaman (b. 1954, London) is a British painter who is represented in the Tate Collection. This article, the result of 15 years of his correspondence with art historian and museum curator Batsheva Goldman-Ida, focuses on a group of works by the artist from the last two decades. Leaman’s familiarity with major Kabbalah scholarship, combined with his wide knowledge of poetry and philosophy, enable him to engage in concepts related to Kabbalah and art in a discursive manner that is unparalleled in modern scholarship. This article showcases Leaman’s remarks with source material for the benefit of the reader. Leaman is one of the most important contemporary artists in the area of mystical art. His introduction to the public is long overdue. His paintings are an authentic, creative expression of the considered material filtered through the artist’s own self-awareness. Leaman’s keen interest in haecceity, hypostatization, and reification is juxtaposed with Goldman-Ida’s interest in object history and linguistic mysticism, and with key Hasidic and kabbalistic concepts such as worship through corporeality, divine contraction, and rectification.

Migration, Emigration, and Immigration: African Cartoonists Draw the Lines

Migration, Emigration, and Immigration: African Cartoonists Draw the Lines

Written Out of Life: The Death of Keith Vaughan and his Journal

When the British painter Keith Vaughan (1912–77) ingested a lethal cocktail of barbiturates, having made the decision to end his life after a long struggle with cancer, there was only one thing left to do: write one final entry in his journal, the lifelong literary account he had commenced in 1939 and maintained ever since. Vaughan’s journal is an extraordinary document, its 61 volumes spanning 38 years of impassioned ideas and personal development from his difficult wartime years as a conscientious objector through his post-war life as a successful but troubled artist. This paper focuses on the final volume of Vaughan’s journal, commenced in August 1975 and ending on the morning of 4 November 1977. It considers how Vaughan used journal-writing at a time of great suffering to reflect upon his life and his reasons for leaving it. By revealing the crucial role that Vaughan’s final volume played in justifying that his life had ceased to have forward momentum or meaning, this paper argues for the close relationship between the practice of journal-writing and questions of futurity, positing Vaughan as an exemplary author-subject who uses diary or journal forms to postulate a potential future and their relationship to it.

A circus in Islington: paintings by Thérèse Lessore

ABSTRACT In this paper I consider two nearly-forgotten artistic practices: that of British painter Thérèse Lessore (1884–1945) and the annual World’s Fair Circus held in Islington, London which she painted on several occasions in the 1920s and 30s. Despite Lessore’s significant output and the positive critical attention her artwork received during her lifetime, her career has been overshadowed by that of her second husband, the prominent British impressionist Walter Sickert. Both artists shared an interest in watching, drawing and painting popular entertainments, and even before they were married they frequently attended music halls, theatres and circuses together to gain inspiration for their work. From 1927 to 1934, the couple became regular attendees at the annual World’s Fair circus, which Lessore went on to depict in several paintings. Dating back to 1883, the World’s Fair, with its circus, animal menagerie, rides, and other novelties, brought the splendour of the summer fair into the Christmas period where it was sheltered from the winter elements by the glass and iron ceiling of the Royal Agricultural Hall. Despite its longevity and popularity, little has been written about the fair and the circuses it hosted. This paper begins the work of contextualising Lessore’s paintings and, in the process, recuperating a circus tradition that held significance for thousands of Londoners across the late nineteenth and early twentieth century.

Violence in the Gilded Ages, Then and Now

In 1840, Joseph Mallord William Turner, the English painter, created Slave Ship: Slavers Throwing Overboard the Dead and Dying—Typhoon Coming On. The painting has many of Turner's signature elements: sensual imagery, brilliant sunsets, and dramatic landscapes ablaze with color. A closer look haunts the viewer. The scattering of a severed leg, shackles, and chains floating in bloody waters capture the monstrous decision of the captain and crew of the slave ship the Zong (originally named Zorg, which means, ironically, “Care” in Dutch) to throw 132 enslaved men, women, and children overboard, one by one, through cabin windows.

Mid-19th century Chinese medical portraits depict late-stage female breast tumours.

Art can unexpectedly provide information about medicine and diseases in the past, including cancer. A small number of breast cancer cases have been identified in Renaissance paintings.1,2 Here, we report one of the largest pictorial collections of breast tumours recorded by the Chinese painter Lam Qua (aka Kwan Kiu Cheong, 1801–60)3 and dated to the mid-19th century. Lam Qua lived in the Canton province of China (currently Guangzhou) during the last imperial dynasty (Great Qing, 1636–1912). In the 1820s, he studied under the patronage of George Chinnery (1774–1852), the first English painter known to settle in China.

El ciclo egipcio de la eterna regeneración a través de la tumba de Nebamun: su influencia en la pintura histórica de Sir Lawrence Alma-Tadema

Con la eclosión de Romanticismo en el continente europeo, una creciente pasión por Oriente (desde la Arabia de Las mil y una noches hasta la Granada nazarita, pasando por el Egipto faraónico) se dejó sentir poderosamente en el panorama de las artes y la literatura, perdurando incluso cuando el influjo de dicho movimiento ya había llegado a su fin. A medida que avanzaba la centuria, esa fascinación fue evolucionando desde una recreación histórica más caprichosa y personal hasta un profundo interés por el rigor arqueológico, algo especialmente palpable en los pintores ingleses que, en las últimas décadas de la época victoriana, sucumbieron al encanto de la temática egipcia. Uno de los mejores ejemplos es sin duda el de Sir Lawrence Alma-Tadema (1836-1912), cuya obra se caracterizó por la inclusión de ropajes, tocados, mobiliario y numerosos detalles basados en el estudio minucioso de objetos pertenecientes a la Antigüedad. En nuestro estudio nos proponemos analizar la influencia ejercida por el ciclo pictórico de la tumba de Nebamun en la producción de este artista, comparando sus cuadros ambientados en el Antiguo Egipto con los fragmentos de dicho ciclo conservados en el Museo Británico. De este modo comprobaremos hasta qué punto su pintura es deudora de ellos, tanto en lo concerniente a la temática de algunos de esos cuadros como en cuanto a la inclusión directa de las escenas de Nebamun como un elemento decorativo más de sus interiores.

Front and Back Covers, Volume 35, Number 4. August 2019

Front and back cover caption, volume 35 issue 4Front coverSELF‐EXCLUSIONLocked gates, fences and razor wire symbolize the closed borders and exclusionary nature of ethnonationalism. They also raise questions about what it means to be inside those locked gates. In this issue, Joyce Dalsheim considers the dynamics underlying ethnonationalism in the latest Israeli elections.Back coverINDIGENOUS AMERICA AND ENGLISH HERITAGEThis ink and watercolour image by the English painter John White from the late 16th century depicts dancing Tupinambá Indians, based on an earlier account by a French traveller to Brazil.White's watercolours, like those he composed when he lived among Algonquians in eastern North America, have been celebrated for their elegant naturalism. At the same time, Europeans widely associated the Tupinambá with cannibalism. White's careful lines therefore capture tensions that were inherent in the English imperial gaze, where the fascination with Native American lifeways, adornment and commodities existed alongside underlying assumptions about violent conflict.More often than not, ethnographic curiosity led to appropriation and dispossession. In 17th‐century London, feather headdresses, admired for their lustre, found their way into cabinets of curiosities or into imperial performances like court masques. Torn from their original contexts, such objects were repurposed to endorse an aesthetics of empire that involved both a visibility and erasure of Native American artefacts and peoples.In this issue, Lauren Working considers what English heritage would look like if Native Americans were integrated more fully within it. She explores the opportunities that exist for using history, anthropology and objects to shed light on the complex, often troubling legacies that emerged out of the first moment of empire in England. Acknowledging the entangled nature of Native American and English histories can become a means of conveying multiple but intersecting narratives and perspectives, weaving indigeneity into the story of Englishness and opening up new possibilities for collaboration, museum display and reconciliation.

Celebrating Psychiatric Health and Place

Back to table of contents Previous article Next article On Mental Health, People, and PlacesFull AccessCelebrating Psychiatric Health and PlaceEzra E. H. Griffith, M.D.Ezra E. H. GriffithSearch for more papers by this author, M.D.Published Online:15 Jul 2019https://doi.org/10.1176/appi.pn.2019.7b11AbstractI welcome you to this new column in Psychiatric News. I hope you will find my periodic excursions enjoyable and instructive. I will focus on exploring the connections of mental health, people, and places.The interconnectedness of these elements is constantly on show in current multidisciplinary discourse. For example, the Nobel Laureate Derek Walcott described his search for home, with tropical St. Lucia as his reference point. There, sunlight and sea transformed his body and made it sing and hum. Mindy Fullilove, M.D., a professor of urban policy and health at the New School for Public Engagement, described how the bulldozing of a city’s neighborhoods can produce stress reactions in people who had lost their homes in such brutalizing urban renewal. Michael Rowe, Ph.D., a Yale professor and mental health theorist, has explored what factors enhance or impede the successful reintegration of severely mentally ill patients into their home communities after an acute phase of illness. Some of those factors are intra-psychic and others environmental. All are related to the patients’ regaining the skills to return to the rights and privileges of community citizenship.These examples demonstrate that “geography” has become increasingly connected to both general and psychiatric health. “Geography” represents the construct of place, space, landscape, or terrain. In recent years, medical anthropology and medical geography have taken the lead in the relevant scholarship that clarifies the interaction of place and both general medical and psychiatric health. It is accepted that the idea of a healing environment encompasses the physical dimensions of the space as well as the enactments and rituals related to biomedicine that take place within the space. That is why home-space becomes a healing environment when family members participate meaningfully in their caregiving roles. Currently, many religious groups are expanding their remit and redefining their commitment to becoming healing communities.The Danielle-Mitterand garden in Rue de Bièvre, Paris.R. C. Grantham ArchitectI visited a recent exhibition titled “Personal Geographies” at the Yale Center for British Art. The focus was the English painter Eileen Hogan (born 1946), whose work combines attention to portraits and landscapes. Her visual presentations captured individuals interacting with their unique spaces. It was left to the viewer to divine the quality of the interaction between these two fundamental elements. For example, one portrait revealed Britain’s Prince of Wales, without necktie, sitting at his desk in a naturalistic, informal home setting, attending to correspondence. Conveying measured relaxation and a modicum of task-oriented activity, it illustrated the therapeutic aspects of limited work or active leisure.Hogan also spent time painting unique dimensions of public parks in Britain. In commentary on the exhibition, she explained that she had sought opinions from the public of their preferred park areas. So, for example, she painted an intimate and personal pathway surrounded by lush greenery; on another canvas, she highlighted the simple gushing of silvery water from a three-foot-high sprinkler. Both scenes evoked images of nature catalyzing reverie and healing calm. Art critic Kathy Czepiel in The Daily Nutmeg New Haven (June 14, 2019) explained that “Hogan’s ability helps us see places and people both as they are and in a new light.”These thoughts reminded me of my attraction to the Danielle-Mitterand garden in Rue de Bièvre, a narrow street located in Paris’s 5th arrondissement. This tiny park, named after the wife of a French president, offers a tranquil space away from mundane pressure to rest, recuperate, and think about those one loves. I don’t wield a paintbrush of any sort. But there, I have been urged to wonder at the magical effect of the architect’s and urban planner’s work on my mood. At those times, I inevitably return to the work of Chester Pierce, M.D., the Harvard public health intellectual. He advanced the notion of extreme environments like prisons and submarines, comparing them, not surprisingly, to America’s urban ghettos and their detrimental psychological effects. Environments can affect psychological healing processes. ■Ezra E. H. Griffith, M.D., is professor emeritus of psychiatry and African American Studies at Yale University. ISSUES NewArchived

Образ Венеции в английской живописи и литературе: на материале книги «Legends of Venice» из библиотеки Строгановых

Образ Венеции в английской живописи и литературе: на материале книги «Legends of Venice» из библиотеки Строгановых

The Father of the Electrical Stimulation of the Ear.

: The Italian physicist Count Alessandro Volta, inventor of the electric battery, is considered the first scientist to have stimulated the ear with electricity, and the results of his experiments were presented in June 1800, at a meeting held by the Royal Society of London. Just recently, Mudry reported an electrical stimulation of the ear performed in 1748 by Benjamin Wilson (1721-1788), a British painter and scientist. After a thorough review of the literature available from the 18th century, we found that the first electrical stimulation of the ear was done in 1747, by a scientist in Bologna, Giuseppe Veratti.

Great Book, But to What Purpose?

Great Book, But to What Purpose? Scott Fosdick (bio) Business Strategies for Magazine Publishing: How to Survive in the Digital Age. Mary Hogarth. Routledge, 2018. 192 pp. $39.95 paperback. If you love magazines— and if you don’t, why the heck are you reading this journal?— you’ll want to pick up a copy of Mary Hogarth’s slim volume Business Strategies for Magazine Publishing: How to Survive in the Digital Age. A lecturer in journalism at England’s Bournemouth University, Hogarth has penned a book that is nearly as deserving of close scrutiny as an engraving by the eighteenth-century British painter and cartoonist William Hogarth (I’ve no idea whether the two are related). It is chockablock with ideas for how print publications can adapt to digital realities. There are chapters on market research, audience engagement, market sectors, platform diversification, advertising, and sustainable business models. There is even a chapter on “Monetising Online Content,” written by another British academic, Steve Hill. (Curiously, it is the only chapter not written by Hogarth.) Although the spellings and the numerous industry sources use British English, the lessons are universal. From start to finish, the authors eschew the theoretical and hone in on practical tips and models for success. So, yes, you’ll want to read this one. The question is, Will your students? I’m assuming that, like me, most readers of this journal not only love magazines but teach magazine courses. Unfortunately, this book isn’t quite right for any of the courses I teach. I have been searching for years for a suitable handbook for student magazines— something equivalent to Rachele Kanigel’s step-by-step book The Student Newspaper Survival Guide. If there’s a good one out there for magazines, please let me know. Many of you will recall fondly The Magazine from Cover to Cover by [End Page 143] Sammye Johnson and Patricia Prijatel. I do. That was an excellent introduction to the ins and outs of— as well as the theories behind— the magazine industry. It covered the waterfront thoroughly, although it did give short shrift to photography. I’ve managed to shoehorn that book into magazine-writing classes for years. Alas, its final revision was in 2012. Business Strategies for Magazine Publishing covers some of the same territory, but it is even further from the kind of handbook I crave. Of course, blaming Business Strategies for not being something it was never intended to be would be as wrong as, say, slamming William Hogarth for not producing sculptures. But you have to wonder, given that the book is all about finding a market for magazines, what does Mary Hogarth think the market is for her book? Perhaps if it had a larger potential readership, the book would have received more attention from its publisher. Routledge appears to have printed it on the cheap. It is nine and a half by six inches, features color only on the cover, and has annoyingly small body type, clunky graphics, and rudimentary design. If there is an academic market for the book, it probably lies in the courses that produce magazine business plans and prototypes. In the United States these courses are offered by the magazine programs that enter the Start-Up Magazine Project category of the annual student magazine contest sponsored by the Magazine Media Division of the Association for Education in Journalism and Mass Communication (which also publishes the journal you are now reading). Unfortunately, that category only attracts a half dozen entries most years. When you consider that some of those entries come from the same universities, you get a sense of how small the academic market is for Ho-garth’s book. For all of that, the book is so good that it makes me want to design a course around it, perhaps for graduate students. The challenge facing this book is the same one facing magazine educators everywhere. We have been marginalized, branded “legacy,” made to feel like vestigial organs destined for the remainders bin or the list of canceled courses. But what we are good at— fashioning attractive messages that speak loudly to carefully targeted audiences— is what the media industry...