This is the first edited collection of essays entirely devoted to the women of the Pre-Raphaelite movement. Inspired by the Pre-Raphaelite Sisters exhibition and conference of 2019¿20, the individual essays present new research into the wide-ranging creativity of the Pre-Raphaelite women. Artistic subjects include Evelyn De Morgan¿s goldwork paintings and her experiments with automatic writing. Barbara Leigh Smith Bodichon, Mary Seton Watts and Eleanor Fortescue-Brickdale are also examined. Elizabeth Siddal¿s relationship with her sister-in-law Christina Rossetti is explored, as is her appropriation of the Pre-Raphaelite principle of «truth to nature». Women¿s writing is addressed, extracting Georgiana Burne-Jones from the memoir of her husband and reassessing the book of fairy tales she planned with Siddal. Fashion history informs an analysis of the sartorial practices of Jane Morris and Siddal, while the influence exerted by the Siddal¿Rossetti relationship on a prominent Czech artist demonstrates how women initiated the spread of Pre-Raphaelite ideals in Europe. More personalised accounts of engaging with and recovering women in history include the painstaking genealogical research undertaken by the great-grandson of model Fanny Eaton and the curation of a Siddal exhibition at Wightwick Manor. This book is essential reading for anyone interested in the Pre-Raphaelites.
This book includes two previously unpublished works that offer insights into the Pre-Raphaelites and the cult of spiritualism. William Michael Rossetti's seance diary, a recording of twenty seances he attended in the 1860s, and a letter to Dante Gabriel Rossetti from spiritualist medium Anna Mary Howitt are presented with extensive introductions.
The study of scents and all things olfactory is thriving, a sign of our current interest in direct and immediate experiences of reality. This volume contributes to the discussion by focusing on the mediality of smells, the mechanisms by which scents circulate and are diffused, explored across different cultures and historical periods.
During the Victorian period, naturally wet spaces like rivers and the sea were construed as feminised, embodying either the angelic Undine or the demonic Siren. This study of a unique collection of materials explores the development of the mythical 'water woman' of the time.
Bloomsbury critics Roger Fry and Clive Bell instigated a new way of looking at art that focused on the visionary genius of the artist. This book traces the Anglo-American dialogue they inspired and demonstrates how Bloomsbury's new aesthetic was taken up by the urban intelligentsia in 1920s.
This new study traces the development and evolution of the writings of Roger Fry (1866-1934), a highly influential art critic who introduced modern French painting to Britain in the early twentieth century. The author examines the role that emerging psychological theories played in the formulation and expression of Fry's aesthetic theories.
With the migration of cinema into the art gallery, artists have been turning, with remarkable regularity and ingenuity, to Alfred Hitchcock-related images, sequences and iconography. The world of Hitchcock's cinema - a classical cinema of formal unities and narrative coherence - represents more than the spectre of a supposedly dead art form: it transcends its own filmic and institutional contexts, becoming an important audio-visual lexicon of desire, loss, mystery and suspense. Through a detailed study of the Hitchcock-related work of artist-filmmakers Matthias Muller and Christoph Girardet, Johan Grimonprez, Pierre Huyghe, Douglas Gordon and Atom Egoyan, this book facilitates a dialogue between the creative appropriation of Hitchcock's films and the cinematic practices that increasingly inform the wider field of the contemporary visual arts. Each chapter is structured around a consideration of how the artwork in question has reconfigured or 'remade' key Hitchcockian expressive elements and motifs - in particular, the relationship between mise en scene and the mechanics of suspense, time, memory, history and death. In a career that extended across silent and sound eras as well as the British, European and Hollywood industries, Hitchcock's film A uvre can be seen as a history of the cinema itself. As the work of these contemporary artist-filmmakers shows, it was also a history of the future, a paradigm case par excellence.
Networks of Stone explores the social and creative processes of sculpture production in Athens in the sixth and fifth centuries BC. Using the concept of art worlds, it analyses the contributions and interactions of all those who were in some way part of creating the sculpture set up in the sanctuaries and cemeteries of Athens. The choices that were made not only by patrons and sculptors but also by traders in various materials and a range of craftsmen all influenced the final appearance of these works of art. By looking beyond the sculptor to the network of craftsmen and patrons that constituted the art world, this study offers new insights into well-known archaeological evidence and some of the highlights of classical art history.
Ut pictura poesis Horace said, but through the two millennia in which the sister arts have been compared, little has been said about the nature of sight itself. What we see in our mind's eye as we read has not been explored, though by following the visual prompts in texts, one can anatomize the process of visualization. The Poetics of Sight analyses the role of sight in memory, dream and popular culture and demonstrates the structure of a complex sight within the metaphors of Shakespeare, Pope and Dickens; and within the visual metaphors of Picasso, Magritte and Bacon. This book explores the difference between the great and the failed works of the supreme poet-painter, William Blake, and tracks the migrations of the Satiric muse between verbal mockery and scabrous images in Persius, Pope, Gillray and Gogol. It records the rise, and partial decline, of the vividly seen novel in Dickens, Flaubert, Tolstoy, Proust and Hardy. The key concept throughout this book is visual metaphor, which in the twentieth century acquired overarching importance: in art from Picasso to Kapoor, in poetry from Eliot to Hughes, in aesthetics from Pound to Derrida. The book closes with a far-reaching definition of visual metaphor and with the great visual metaphor of the human body.
This book examines the many facets of the work of Pierre Klossowski (1905-2001). Klossowski first established himself as a writer and was known and admired by peers such as Bataille, Blanchot, Gide, Foucault, Deleuze and Lacan. But in 1972 he gave up writing to devote himself to his 'mutism': painting made up of large coloured drawings. In time he became as famous a painter as he had been a writer and theorist. Klossowski now has two separate groups of commentators: those concerned with his writings and those with his painting, with little overlap between the two. Here, this separation is explicitly removed. Klossowski's entire A uvre revolved around the concept of the gaze. Rarely has the gaze been so radically interpreted - as an active, mobile, evanescent object that breaks down the connections between representation and the visible. How is one to see the invisible divinity? This question plagued Klossowski, and he displaced it onto pornographic rituals. The pantomime of spirits is the scene, fixed in silence, where bodies meet - a knotting of desiring body and dogmatic theology. A creator of simulacra, Klossowski attempted to exorcise the 'obsessive constraint of the phantasm' that subjugated him in all these scenes. Translated from the French by Adrian Price in collaboration with Pamela King.
Immaterial Culture engages with texts that are now largely unread and dismissed as trivial or dubious: the vast body of plays - thrillers, narrative poetry, comedy sketches, documentaries and adaptations of literature and drama - that aired on American network radio during the medium's so-called golden age. For a quarter century, from the stock market crash of 1929 to the introduction of the TV dinner in 1954, radio plays enjoyed an exposure unrivalled by stage, film, television and print media. As well as entertaining audiences numbering in the tens of millions for a single broadcast, these scripted performances - many of which were penned by noted novelists, poets and dramatists - played important and often conflicting roles in advertising, government propaganda and education. Reading these fugitive and often self-conscious texts in the context in which they were created and presented, the author considers what their neglect might tell us about ourselves, our visual bias and our attitudes toward commercial art and propaganda. The study's ample scope, its interdisciplinary approach and its insistence on the primacy of the texts under discussion serve to regenerate the discourse about cultural products that challenge the way we classify art and marginalise the unclassifiable.
Sculpture was no occupation for a lady in Victorian Britain. Yet between 1837 and 1901 the number of professional female sculptors increased sixteen-fold. The four principal women sculptors of that era are the focus of this book. Once known for successful careers marked by commissions from the royal family, public bodies and private individuals, they are forgotten now. This book brings them back to light, addressing who they were, how they negotiated middle-class expectations and what kind of impact they had on changing gender roles. Based on their unpublished letters, papers and diaries coupled with contemporary portrayals of female sculptors by novelists, critics, essayists and colleagues, this is an unprecedented picture of the women sculptors' personal experience of preparing for and conducting careers as well as the public's perception of them. The author examines each woman's ability to use her position within the historical and cultural context as a platform from which to instigate change. The analytical emphasis throughout is on the art of negotiation and the result is an interdisciplinary work that delves deeply into the experience of an undervalued cohort of artists who had a disproportionate influence on Victorian social norms.
This book offers an interpretative key to Virginia Woolf's visual and spatial strategies by investigating their nature, role and function. The author examines long-debated theoretical and critical issues with their philosophical implications, as well as Woolf's commitment to contemporary aesthetic theories and practices. The analytical core of the book is introduced by a historical survey of the interart relationship and significant critical theories, with a focus on the context of Modernism. The author makes use of three investigative tools: descriptive visuality, the widely debated notion of spatial form, and cognitive visuality. The cognitive and remedial value of Woolf's visual and spatial strategies is demonstrated through an inter-textual analysis of To the Lighthouse, The Waves and Between the Acts (with cross-references to Woolf's short stories and Jacob's Room). The development of Woolf's literary output is read in the light of a quest for unity, a formal attempt to restore parts to wholeness and to rescue Being from Nothingness.
This book examines the role and the meaning of collecting in the fiction of Henry James. Emerging as a refined consumerist practice at the end of the nineteenth century, collecting not only set new rules for appreciating art, but also helped to shape the aesthetic tenets of major literary movements such as naturalism and aestheticism. Although he befriended some of the greatest collectors of the age, in his narrative works James maintained a sceptical, if not openly critical, position towards collecting and its effects on appreciation. Likewise, he became increasingly reluctant to follow the fashionable trend of classifying and displaying art objects in the literary text, resorting to more complex forms of representation. Drawing from classic and contemporary aesthetics, as well as from sociology and material culture, this book fills a gap in Jamesian criticism, explaining how and why James's aversion towards collecting was central to the development of his fiction from the beginning of his career to the so-called major phase.
Gardens provoke thought and engagement in ways that are often overlooked. This book explores the philosophical issues raised by art gardens, such as the meaningful encounters of humans, animals and plants in the context of the garden. Tupare, a garden in New Zealand, is used as source material.
This book addresses the memory of Rome: the dialectic between the glorious historical past of the Roman Republic and the Roman Empire and its echoes, representations and interpretations in the works of Shakespeare. The essays explore multiple layers of time and place in relation to Shakespearean plays: throughout the world (from Romania to Japan) and down the centuries, in the arts (paintings, music) and in dramatic performances.Individual essays (by Michel Dobson, Peter Holland, Richard Wilson and Piero Boitani, among others) address multiple aspects of the complex relationship between two countries (England and Italy) and two moments in time (the Ancient Roman and Early Modern periods). Essays include analyses of less studied works (e.g. Cymbeline), rewritings of Roman narratives (e.g. Titus Andronicus and The Rape of Lucrece), modern enactments of Shakespearean performances around the world, the representation of Shakespearean myths in Renaissance paintings, and the music accompanying the text of Roman plays.
This book explores interconnections between high literary modernism and the revolution in dress design of the early twentieth century. New and 'liberated' lifestyles and a fascination with 'inventive clothes' united diverse writers, photographers, and art critics at the time. Studies of F. Scott Fitzgerald, Man Ray and Virginia Woolf are included.
Showcase Britain explores the diverse aspects of British participation in the Vienna World Exhibition of 1873. Britain's contributions to the ceramic and Fine Art collections and comparisons with the participation of China, Japan and India are considered.
Central to human life and experience, habitation forms a context for enquiry within many disciplines. This collection brings together perpectives on human habitation from fields such as archaeology, material culture, art and design, and architecture, providing compelling examples of the potential for interdisciplinary conversations on the subject.
Why was the Bard of Avon so frequently on the agenda of avant-garde writers in Britain, France, Italy, Portugal, Germany and Ireland? The essays of this book interrogate Shakespeare's living presence and chart the multiple facets of his vibrant and chameleonic afterlives as no single volume has done before.
The figure of the beautiful reclining female sleeper is a recurring theme in the Victorian imagination. This book compiles and examines a corpus of Sleeping Beauties drawn from Victorian medical reports, literature and the arts and explores the significance of the enduring revival of the myth.
As new, artificial dyes were created in the second half of the nineteenth century, a longing for faded, ancient hues emerged in artistic circles. This collection focuses on the complex reception of the colours of the past in the works of major Victorian writers and artists, exploring the multiple facets of their chromatic nostalgia.
Dante in the Nineteenth Century
The intersection between space and narrative has often aroused critical interest, especially in cross-fertilization of language and imagination. In this title, the essays address ways in which three generations of British and American artists responded to these ontological changes, as they were both literally and metaphorically 'thrown' on roads.
In the twenty-first century it is now possible to detect a new sacred 'turn' in thought and writing. For some writers, this post-secular identity plays itself out in both a recuperation of religious traditions (Catholicism, Puritanism, Judaism). This title presents a collection of essays that considers return of religious in literary studies.
The Swiss artist Alberto Giacometti participated in Parisian literary and cultural circles from the early meetings of Surrealists to existentialism and diverse currents in art and poetry that followed. This book considers examples of poesie critique devoted to Giacometti's work by major French poets and thinkers from Andre Breton to Yves Bonnefoy.
This book spans the most significant phases of Ford¿s literary production, from his art criticism to his main modernist novels: The Good Soldier, Parade¿s End, The Rash Act and Henry for Hugh. The aim is to explore the uncharted territory of Ford¿s interest in the scopic field, claiming that his investigation of the optical unconscious is his most original contribution to the modernist concern for the stream of consciousness. This is the first in-depth study of Ford¿s interest in the gaze and how it is related to writing, painting, music, sculpture, visual technologies and forms of popular entertainment. Undermining the clichéd critical vision of Ford as the last Pre-Raphaelite or proto-Futurist, this study analyses Ford¿s fascination with the visual avant-garde and his response to the revolution of photography and (proto-) cinematographic forms from the specific angle of the scopic drive. Part history, part theoretical discussion embedded in the close reading of the texts, this book is also concerned with Ford as a great stylist whose writing strives to project an image of itself and its structures in the reader¿s eye. Drawing inspiration from psychoanalysis and art criticism, the author capitalises on the theories of Jacques Lacan, Rosalind Krauss, Hal Foster, Jonathan Crary, and Norman Bryson to disclose the fascinating and baffling universe of Ford¿s gaze. This is a revised and extended English translation of the original book Ford Madox Ford: Visione/visualità e scrittura.
Prenumerera på vårt nyhetsbrev för att få fantastiska erbjudanden och inspiration för din nästa läsning.
Genom att registrera dig accepterar du vår personuppgiftspolicy.
