Note 29 to Chapter 1 of the author's George Eliot and the Visual Arts, which Yale University Press published in a 1979. It has been included in the Victorian web with the kind permission of the author, who of course retains copyright.
Alastair Smart, "Pictorial Imagery in the Novels of Thomas Hardy," Review of English Studies, 12 (1961), 263. On Hardy's pictorialism, see also Gunther Wilmsen, Thomas Hardy als im pressionistischer Landschaftsmaler (Marburg: G. H. Nolte, 1934); Carl J. Weber, Hardy of Wessex (New York: Columbia University Press, 1940), pp. 26-27; Richard C. Carpenter, "Hardy and the Old Masters," Boston University Studies in English, 5 (1961), 18-28; James F. Scott, "Thomas Hardy's Use of the Gothic," Nineteenth-Century Fiction, 17 (1963), 363-80; Lloyd Fernando, "Thomas Hardy's Rhetoric of Painting," Review of English Literature, 6 (1965), 62-73; F. B. Pinion, A Hardy Companion (New York: St. Martin's Press, 1968), pp. 193-200; John Peck, "Hardy and the Figure in the Scene," Agenda, 10 (1972), 117-25; Bernard Richards, "The Use of the Visual Arts in the Nineteenth-Century Novel," pp. 171-209; Norman Page, "Visual Techniques in Hardy's 'Desperate Remedies"'; and Penelope Vigar, The Novels of Thomas Hardy: Illusion and Reality (London: The Athlone Press, 1974).
Last modified 20 September 2000