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William Pryor Floyd: Art, Business, ...

Wang, Bing,

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William Pryor Floyd: Art, Business, and Photography in Nineteenth-Century Hong Kong /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	William Pryor Floyd: Art, Business, and Photography in Nineteenth-Century Hong Kong // Bing Wang.
作者:	Wang, Bing,
面頁冊數:	1 electronic resource (354 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-11, Section: A.
Contained By:	Dissertations Abstracts International85-11A.
標題:	Art history. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31340978
ISBN:	9798382604268

William Pryor Floyd: Art, Business, and Photography in Nineteenth-Century Hong Kong /
Wang, Bing,

William Pryor Floyd: Art, Business, and Photography in Nineteenth-Century Hong Kong /Bing Wang. - 1 electronic resource (354 pages)

Source: Dissertations Abstracts International, Volume: 85-11, Section: A.

In British Hong Kong during the second half of the nineteenth century, the central area of the colony was packed with photographic studios. Their close proximity and ambition fueled a dynamic photographic market that was driven by artistic passion, technical innovation, and commercial rivalry. Amid this environment, British photographer William Pryor Floyd (1834-ca. 1900) was among the most active of early photographic practitioners and enjoyed a comparatively long and fruitful career. As an artist, his photographs received official recognition from the British royal family and local dignitaries. As a business owner, he managed to overcome fierce market competition and operate a successful studio.The first scholarly examination of this long-overlooked photographer, this dissertation explores Floyd's art and business in China between 1864 and 1874, doing so with a strong focus on the time he spent in British Hong Kong from 1867. I position Floyd's photographs within commercial, artistic, documentary, and creative contexts. I argue that, to a great extent, Floyd's photography served the interests of British colonial operations in Hong Kong during its formative stage as a colony.Chapter One offers an overview of Floyd's career trajectory in China. Through an unparalleled number of advertisements he placed in the local press, Floyd presented himself as a technical master of permanent photography and an artist who enjoyed the patronage of the colonial officials. The following three chapters examine three genres of Floyd's extant works. I demonstrate the various roles these photographs played in facilitating Victorian colonial ambition and governance in the colony. Chapter Two examines Floyd's Views of Hongkong (1868) and South China Album (1873). Images from these two projects echoed and celebrated the British colonial agenda and infrastructural expansion in Hong Kong. Chapter Three analyzes Floyd's photographs documenting the aftermath of the 1874 typhoon, the most destructive storm that the colony had ever experienced. The photographs served to project the strength of the British Empire and its colonial rule. Chapter Four considers Floyd's photographs portraying Chinese street vendors. These images suggest increasing interest in understanding how the Chinese acted and engaged with each other during their daily street trading practices.

English

ISBN: 9798382604268Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Floyd, William Pryor

William Pryor Floyd: Art, Business, and Photography in Nineteenth-Century Hong Kong /
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520 $a In British Hong Kong during the second half of the nineteenth century, the central area of the colony was packed with photographic studios. Their close proximity and ambition fueled a dynamic photographic market that was driven by artistic passion, technical innovation, and commercial rivalry. Amid this environment, British photographer William Pryor Floyd (1834-ca. 1900) was among the most active of early photographic practitioners and enjoyed a comparatively long and fruitful career. As an artist, his photographs received official recognition from the British royal family and local dignitaries. As a business owner, he managed to overcome fierce market competition and operate a successful studio.The first scholarly examination of this long-overlooked photographer, this dissertation explores Floyd's art and business in China between 1864 and 1874, doing so with a strong focus on the time he spent in British Hong Kong from 1867. I position Floyd's photographs within commercial, artistic, documentary, and creative contexts. I argue that, to a great extent, Floyd's photography served the interests of British colonial operations in Hong Kong during its formative stage as a colony.Chapter One offers an overview of Floyd's career trajectory in China. Through an unparalleled number of advertisements he placed in the local press, Floyd presented himself as a technical master of permanent photography and an artist who enjoyed the patronage of the colonial officials. The following three chapters examine three genres of Floyd's extant works. I demonstrate the various roles these photographs played in facilitating Victorian colonial ambition and governance in the colony. Chapter Two examines Floyd's Views of Hongkong (1868) and South China Album (1873). Images from these two projects echoed and celebrated the British colonial agenda and infrastructural expansion in Hong Kong. Chapter Three analyzes Floyd's photographs documenting the aftermath of the 1874 typhoon, the most destructive storm that the colony had ever experienced. The photographs served to project the strength of the British Empire and its colonial rule. Chapter Four considers Floyd's photographs portraying Chinese street vendors. These images suggest increasing interest in understanding how the Chinese acted and engaged with each other during their daily street trading practices.
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