Pierre-Luc Cicéri, chief decorator at the Paris Opéra, also established a
career as interior decorator and educator of students that treated interior
spaces as three-dimensional images and artworks in their own right. Cicéri’s
followers helped push the art of fantasy architecture to a new level,
creating a new form of art and popular entertainment around the “ideal
home.” Exhibited at the Salon and at a variety of universal and decorative
arts exhibitions as well as published in expensive, luxury folios and
reprinted in cheaper, popular editions, the “interior dreamscapes” by
Cicéri’s followers disseminated the interior for interior’s sake. The
domestic interior could be admired, collected, hidden inside cabinets, or
reappropriated as an object of contemplation for private walls. The same
images functioned as two-dimensional blueprints for the construction of
three-dimensional settings and as advertising schemes for the artists that
produced and popularized them, furthering interest in and creating a common
language about the appearance of the modern, private home. The chapter
ultimately argues that wishful thinking and vicarious identification with
the - often missing - owners of the model interiors made available through
these means and furtively perused in private homes helped create a
professional niche that would soon be occupied by the interior designer.
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.