This book can be described as an 'oblique memoir'. The central underlying and repeated themes of the book are exile and displacement; lives (and deaths) during the Third Reich; mother-daughter and sibling relationships; the generational transmission of trauma and experience; transatlantic reflections; and the struggle for creative expression. Stories mobilised, and people encountered, in the course of the narrative include: the internment of aliens in Britain during the Second World War; cultural life in Rochester, New York, in the 1920s; the social and personal meanings of colour(s). It also includes the industrialist and philanthropist, Henry Simon of Manchester, including his relationship with the Norwegian explorer, Fridtjof Nansen; the liberal British campaigner and MP of the 1940s, Eleanor Rathbone; reflections on the lives and images of spinsters. The text is supplemented and interrupted throughout by images (photographs, paintings, facsimile documents), some of which serve to illustrate the story, others engaging indirectly with the written word. The book also explains how forced exile persists through generations through a family history. It showcases the differences between English and American cultures. The book focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations.
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This chapter explores how Émile Zola’s ekphrastic writings about Édouard Manet’s paintings functioned as a template on which the writer imposed his evolving theories of the naturalist novel. It argues that, while Zola championed Manet in his critical reviews of the artist’s works, he did so in the name of naturalism and the scientific objectivity and analysis naturalism promoted. Moreover, it seems likely that Manet would have read Zola’s 1868 preface to Thérèse Raquin, where the author first mandated his naturalist theories. The chapter asks what Manet would have thought about Zola’s subjugation of painting to writing and his refusal of meaningful content in his art. It proposes that Manet painted Zola’s portrait in 1868 as a response to the critic’s misinterpretation of the painter’s artistic method. Manet’s portrait of Zola also reveals how the artist, in turn, appropriated the writer and his writing to his own artistic agenda, the subsequent manifestations of which culminate in Manet’s final masterpiece, A Bar at the Folies Bergère (1882).
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Part I: Early modern encounters
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Part II: Nineteenth-century encounters
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Part III: Modern and postmodern encounters
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Comradely objects
Design and material culture in Soviet Russia, 1960s–80s
The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913.
This book is about two distinct but related professional cultures in late Soviet
Russia that were concerned with material objects: industrial design and
decorative art. The Russian avant-garde of the 1920s is broadly recognised to
have been Russia’s first truly original contribution to world culture. In
contrast, Soviet design of the post-war period is often dismissed as hackwork
and plagiarism that resulted in a shabby world of commodities. This book
identifies the second historical attempt at creating a powerful alternative to
capitalist commodities in the Cold War era. It offers a new perspective on the
history of Soviet material culture by focusing on the notion of the ‘comradely
object’ as an agent of progressive social relations that state-sponsored Soviet
design inherited from the avant-garde. It introduces a shared history of
domestic objects, handmade as well as machine-made, mass-produced as well as
unique, utilitarian as well as challenging the conventional notion of utility.
Situated at the intersection of intellectual history, social history and
material culture studies, this book elucidates the complexities and
contradictions of Soviet design that echoed international tendencies of the late
twentieth century. The book is addressed to design historians, art historians,
scholars of material culture, historians of Russia and the USSR, as well as
museum and gallery curators, artists and designers, and the broader public
interested in modern aesthetics, art and design, and/or the legacy of socialist
regimes.
Soaking up the rays
Light therapy and visual culture in Britain, c. 1890–1940
Soaking up the rays forges a new path for exploring Britain’s fickle love of the light by investigating the beginnings of light therapy in the country from c.1890-1940. Despite rapidly becoming a leading treatment for tuberculosis, rickets and other infections and skin diseases, light therapy was a contentious medical practice. Bodily exposure to light, whether for therapeutic or aesthetic ends, persists as a contested subject to this day: recommended to counter psoriasis and other skin conditions as well as Seasonal Affective Disorder (SAD) and depression; closely linked to notions of beauty, happiness and well-being, fuelling tourism to sunny locales abroad and the tanning industry at home; and yet with repeated health warnings that it is a dangerous carcinogen. By analysing archival photographs, illustrated medical texts, advertisements, lamps, and goggles and their visual representation of how light acted upon the body, Woloshyn assesses their complicated contribution to the founding of light therapy. Soaking up the rays will appeal to those intrigued by medicine’s visual culture, especially academics and students of the histories of art and visual culture, material cultures, medicine, science and technology, and popular culture.