This issue of 19 on ‘The Arts and Feeling’ explores the ways in which Victorian writers, artists, composers, sculptors, and architects imagined, conceptualized, and represented emotion. Its diverse articles respond to and extend recent interdisciplinary work on emotions, sentimentality, and the senses, locating such work within wider debates about the physiology and psychology of aesthetic perception, the historicization of aesthetic response, and the role of media specificity in the production of affect. What were the expressive codes and conventions that resonated for the Victorians? And what of the terminology used today in academic discourse to locate, recognize, and describe feeling? ‘The Arts and Feeling’ interrogates such questions in relation to canonical artworks, like John Everett Millais’s Autumn Leaves or William Holman Hunt’s The Awakening Conscience. It investigates the role of feeling in religious visual and material culture, and in John Ruskin’s vision of architecture as an emotional art; it looks at Victorian exhibition culture and the ‘hurried’ nature of aesthetic response, and at women viewing art and the gendering of perception. Vernon Lee offers us ‘historic emotion’, while George Eliot’s The Mill of the Floss makes us think about feeling hungry. Richard Dadd’s Passions series stages interaction between madness, visual culture, and theatricality; and the Aesthetic Movement provides opportunity to reflect on the relationship between art and music and how, together, they both produce and repress emotion. Cover image: Philip Hermogenes Calderon, Broken Vows, 1856. © Tate CC-BY-NC-ND (3.0 Unported) .

Introduction

---

Article

---