Price and Gilpin in the Cottage Garden: Reading the Picturesque in Late Victorian Watercolors

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Lauren Palmor


In his book American Picturesque, John Conron asserts that the picturesque “leads a nineteenth-century life very much distinguishable from its eighteenth century predecessors.” How was the nineteenth century life of the picturesque different as seen through such cottage scene pictures? What was uniquely picturesque about the Victorian cottage garden and its depiction by artists, especially those working with watercolors? How do the characters populating these pictures correspond with the favored picturesque figures found in Price? By addressing the taste for cottage garden pictures, and the work of artists like Helen Allingham and Thomas James Lloyd, one may perhaps uniquely access the Victorian life of the picturesque ideal.

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Author Biography

Lauren Palmor, University of Washington

Lauren Palmor is a PhD student in the Department of Art History at the University of Washington in Seattle. Her dissertation research concerns images of aging in nineteenth-century art. She earned her MA with Merit in the History of Art at the Courtauld Institute of Art in London, where she was awarded Distinction for her dissertation on new ideas of dress in contemporary photography. Her experience in the art world has included positions at museums, galleries, art magazines, non-profits, and artist foundations.