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Activism and design in Italy
Author: Ilaria Vanni

Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.

Zoë Thomas

1930s. Across the capital, this network spread through the West End and into ‘artistic’ Kensington, Chelsea, and Hammersmith. Business owners included: Newman; M. V. Wheelhouse and Louise Jacobs at Pomona   151    W OMEN AR T W O RK E RS AN D T HE ART S AN D C R A FTS M OV EM ENT Toys toyshop; E. C. Woodward and Agnes Withers of the metalwork workshop Woodward and Withers; Pamela Colman Smith of the Green Sheaf Press, alongside many other owners of metal, stained-glass, bookbinding, needlework, leather, and weaving shops and workshops. Women also set up

in Women art workers and the Arts and Crafts movement
Living spirituality

Between 1598 and 1800, an estimated 3, 271 Catholic women left England to enter convents on the Continent. This study focuses more particularly upon those who became Benedictines in the seventeenth century, choosing exile in order to pursue their vocation for an enclosed life. Through the study of a wide variety of original manuscripts, including chronicles, death notices, clerical instructions, texts of spiritual guidance, but also the nuns’ own collections of notes, this book highlights the tensions between the contemplative ideal and the nuns’ personal experiences. Its first four chapters adopt a traditional historical approach to illustrate the tensions between theory and practice in the ideal of being dead to the world. They offer a prosopographical study of Benedictine convents in exile, and show how those houses were both cut-off and enclosed yet very much in touch with the religious and political developments at home. The next fur chapters propose a different point of entry into the history of nuns, with a study of emotions and the senses in the cloister, delving into the textual analysis of the nuns’ personal and communal documents to explore aspect of a lived spirituality, when the body, which so often hindered the spirit, at times enabled spiritual experience.

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Zoë Thomas

1932 work by Hugh de Poix titled Nunc est Sherryendum (‘Now is the time to drink sherry’), which still hangs at 6 Queen Square today (Figure 6.1). Designed to represent a stained-glass window, the work depicts the Brothers, in middle to old age, loitering in a close, companionable circle around Master Basil Oliver, festooned in his red cape. A Past-Master rests a supportive hand on his shoulder. Smoking pipes and swilling sherry, their expressions range from the jovial and the imperious to the suspicious. Some Brothers even gaze directly back at the viewer – the

in Women art workers and the Arts and Crafts movement
Visualising a changing city

Delving into a hitherto unexplored aspect of Irish art history, Painting Dublin, 1886–1949 examines the depiction of Dublin by artists from the late-nineteenth to the mid-twentieth century. Artists’ representations of the city have long been markers of civic pride and identity, yet in Ireland, such artworks have been overlooked in favour of the rural and pastoral, falling outside of the dominant disciplinary narratives of nationalism or modernism. Framed by the shift from city of empire to capital of an independent republic, this book chiefly examines artworks by of Walter Frederick Osborne (1857–1903), Rose Mary Barton (1856–1929), Jack Butler Yeats (1871–1957), Harry Aaron Kernoff (1900–74), Estella Frances Solomons (1882–1968), and Flora Hippisley Mitchell (1890–1973), encompassing a variety of urban views and artistic themes. While Dublin is renowned for its representation in literature, this book will demonstrate how the city was also the subject of a range of visual depictions, including those in painting and print. Focusing on the images created by these artists as they navigated the city’s streets, this book offers a vivid visualisation of Dublin and its inhabitants, challenging a reengagement with Ireland’s art history through the prism of the city and urban life.

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Martha Vandrei

of recent heritage: Davies’s railways and collieries shaped the modern, industrial landscape of south Wales. But, inside St Llonio’s Church, one can find a past of much greater antiquity. The south aisle of St Llonio’s is dominated by three stained-­glass windows designed and commissioned by Elinor Powell in 1897 (figure 5). Powell was the daughter of a local landowner, and she placed the windows in memory of her mother and father. Each window depicts a scene from the early history of Christianity, but not, perhaps, ones familiar to the modern observer. The viewer

in Making and remaking saints in nineteenth-century Britain
The Musée centennal du mobilier et de la décoration and the legacy of proto-interior designers
Anca I. Lasc

peacock as the primary decoration of its stained-glass window to the work-study filled with floral ornamentation (Fig. 6.4), Bajot imagined all the rooms of a house done in the new style just as he had fashioned them in historical or exotic settings a few years earlier. To the boudoir and the bathroom he added a study, a library, and a bedroom (Fig. 6.5), the last of which, as also seen in Sandier’s work, blended natural decoration with an iconography inspired by the female body and its physical adornment. Focusing on the second half of the nineteenth century, a period

in Interior decorating in nineteenth-century France
Jill Liddington

escapades, she descended the imposing stone stairway to the ornately Victorian Crypt Chapel, its stained glass windows with decorative gold leaf. And, right by the chapel entrance, Emily found an inconspicuous broom cupboard. Here on, her story entered the public domain, with all its glare of press and publicity. Among those who took up her tale, Votes for Women elaborated upon the iconographical significance of her cupboard of rebellion: Emily Wilding Davison’s Westminster127 Armed with some provisions, Miss Davison took up her position in a cupboard of about 5ft by 6ft

in Vanishing for the vote
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The material and visual culture of the Stuart Courts, 1589–1619
Author: Jemma Field

This book analyses Anna of Denmark’s material and visual patronage at the Stuart courts, examining her engagement with a wide array of expressive media including architecture, garden design, painting, music, dress, and jewellery. Encompassing Anna’s time in Denmark, England, and Scotland, it establishes patterns of interest and influence in her agency, while furthering our knowledge of Baltic-British transfer in the early modern period. Substantial archival work has facilitated a formative re-conceptualisation of James and Anna’s relationship, extended our knowledge of the constituents of consortship in the period, and has uncovered evidence to challenge the view that Anna followed the cultural accomplishments of her son, Prince Henry. This book reclaims Anna of Denmark as the influential and culturally active royal woman that her contemporaries knew. Combining politics, culture, and religion across the courts of Denmark, Scotland, and England, it enriches our understanding of royal women’s roles in early modern patriarchal societies and their impact on the development of cultural modes and fashions. This book will be of interest to upper level undergraduate and postgraduate students taking courses on early modern Europe in the disciplines of Art and Architectural History, English Literature, Theatre Studies, History, and Gender Studies. It will also attract a wide range of academics working on early modern material and visual culture, and female patronage, while members of the public who enjoy the history of courts and the British royals will also find it distinctively appealing.

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Author: John Potvin

Richly illustrated with over 110 colour and black and white images, the book productively contests the supposedly exclusive feminine aspect of the style moderne (art deco). It explores how alternative, parallel and overlapping experiences and expressions of decorative modernism, nationalism, gender and sexuality in the heady years surrounding World War I converge in the protean figure of the deco dandy. As such, the book significantly departs from and corrects the assumptions and biases that have dominated scholarship on and popular perceptions of art deco. The book outlines how designed products and representations of and for the dandy both existed within and outwith normative expectations of gender and sexuality complicating men’s relationship to consumer culture more broadly and the moderne more specifically. Through a sustained focus on the figure of the dandy, the book offers a broader view of art deco by claiming a greater place for the male body and masculinity in this history than has been given to date. The mass appeal of the dandy in the 1920s was a way to redeploy an iconic, popular and well-known typology as a means to stimulate national industries, to engender a desire for all things made in France. Important, essential and productive moments in the history of the cultural life of Paris presented in the book are instructive of the changing role performed by consumerism, masculinity, design history and national identity.