Contents: Introduction: the Victorian interior: a collaborative, eclectic introduction, Jason Edwards and Imogen Hart; Re-reading the green dining room, Sally-Anne Huxtable; Superabundance and disorder: Ruskin's 'two great evils' and the church of St Mary, Studley Royal, Jane Hawkes; An 'enchanted interior': William Morris at Kelmscott House, Imogen Hart; The lessons of Leighton House: aesthetics, politics, erotics, Jason Edwards; 'Fearful consequences ... of living up to one's teapot': men, women and 'cultchah' in the aesthetic movement, Anne Anderson; 'Of things both old and new': the work of Richard Coad and James MacLaren, Paul Holden; Paintings from nowhere: Walter Crane, socialism, and the aesthetic interior, Morna O'Neill; The aesthetics of the community: queer interiors and the desire for intimacy, John Potvin; 'Baffling arrangements': Vernon Lee and John Singer Sargent in queer Tangier, Diana Maltz; Sculpture and aesthetic intent in the late Victorian interior, Martina Droth; Timeline; Bibliography; Index.
Rethinking the Interior, C.1867-1896: Aestheticism and Arts and Craftsby Jason Edwards, Imogen Hart
Pub. Date: 04/01/2010
Publisher: Taylor & Francis
relationships in Victorian decorative arts are actually self-conscious iconographic schemes or merely random juxtapositions of assorted objects, Rethinking
From Aesthetes in Africa to the cultural history of the teapot, the essays in this collection contribute to scholarly debates across a wide range of disciplines. Addressing the question of whether "eclectic"
relationships in Victorian decorative arts are actually self-conscious iconographic schemes or merely random juxtapositions of assorted objects, Rethinking the Interior, c. 1867-1896: Aestheticism and Arts and Crafts, argues that no firm demarcation exists between the two movements examined here. In the process, the contributors explore a wide variety of interiors in locations as diverse as London, Cornwall, New England, and Tangiers. Analyzing spaces public and private, sacred and secular, the volume poses several historiographic challenges. Drawing on a wide range of feminist and queer theories, the book questions the identification of nineteenth-century interiors as exclusively female or family spaces. The collection also addresses the complex and temporary character of interiors, and responds to the recent scholarly trend to return questions of feeling and embodied experience to the study of the decorative arts.
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