Search results

You are looking at 31 - 40 of 185 items for :

  • religious life x
  • Art, Architecture and Visual Culture x
Clear All
J.W.M. Hichberger

’s The Recruiting Party at first glance strikes a merry note, but was intended to convey a sober reflection upon the danger to civilians in contact with soldiers. The most obvious menace comes from the recruiting party itself. The methods of recruiting sergeants were notoriously corrupt and designed to ensnare young men ignorant of the realities of life into the Army. One of the most familiar was for the victims

in Images of the army

‘Dharma bums’, 1958–71 Makes a Sandwich’ as a marker for a broader shift in 1960s art towards everyday life as a central concern for a range of artistic practices. Unlike Pollock’s Autumn Rhythm, illustrated in ‘Pollock paints a picture’, Conner’s sandwich, which similarly occupies the last page of the Artforum article, does not exist as an artwork in itself. Indeed, the only apparent justification for including the sandwich-making demonstration in an art magazine in the first place was the description of Conner as an artist at the text’s beginning. Is the sandwich art

in Almost nothing
J.W.M. Hichberger

kind of publicity made her a celebrity and her work the focus of the exhibition. Over a quarter of a million photographs of her were sold in a week, and the press speculated on her private life. 8 The Queen regarded the army in the Crimea as her own, and was anxious to emphasise her nominal position as its head. In the aftermath of the war, she had instituted the Victoria Cross and had personally

in Images of the army

, glass, as Isobel Armstrong has explored, is contradictory and many-faceted, claiming transparency and industrial modernity, but riddled with the ‘scratches, fingerprints … impurities and bubbles of air’ that testify to its production by human breath.13 Jan Piggott’s The Crystal Palace at Sydenham 1854–1936 (2004) was the first publication to offer a comprehensive history of the multifaceted life of the Palace, inside and out, to accompany an exhibition at the Dulwich Picture Gallery, and is an essential point of departure for all chapters here. This collection aims to

in After 1851
Masculine subjects in Ravi Varma’s scholar paintings

-­modern Indian life (personal religious reflection, for example) the idea of a subjective interiority linked with the individual was particularly new in the Indian context in the late nineteenth century. Given voice in the realist novel or autobiographies, it mediated earlier forms of self-­expression to forge new relationships between the individual and his world that approximated to what Kaviraj calls ‘the invention of private life’.29 Ravi Varma’s portraits exploit chiaroscuro to invent such subjective inner worlds figured upon the self-­absorbed reading subjects and

in Empires of light
Abstract only
J.W.M. Hichberger

uniquely continuous documentation – the annual exhibitions, which occurred without interruption throughout the period, were always accompanied by a catalogue which detailed the artist, his/her location and the title of the picture. Secondly, the RA, for almost the whole period, was regarded as the foremost venue for the exhibition of paintings, and thus occupied an important place in the social life of the metropolis. It is

in Images of the army
Myths of origins and national identity

far from civilization. Islands were also imagined in romantic terms, as if they existed in Saint-Pierre’s exiles a perfect state of balance and harmony, self-contained, ruled by nature and not by man. But in fiction as in life, islands had to be inhabited to be of interest: when populated, they could then be described as a kind of crossroads, a zone of commerce and cultural exchange where colonialists could confront what they imagined to be their ‘savage’ or ‘primitive’ others, where they could hear different languages, see different races. These attitudes

in Julia Margaret Cameron’s ‘fancy subjects’
J.W.M. Hichberger

female sexuality saw an unbridgeable gulf between the ‘honest woman’ and the whore. Since the financial imperative of prostitution for women on low wages was often discounted, commentators chose to believe that women ‘fell’ into the life only after being seduced. The profile of the typical prostitute constructed by contemporary authorities was a ‘virtuous’ serving maid or farm girl led from the path of

in Images of the army
Parameters of Jewish identity

the Cité nationale de l’histoire de l’immigration in Paris –  Patrick Zachmann’s second book, Enquête d’identité: un Juif à la recherche de sa mémoire (1987) documents his journey to discover the meaning and significance of Jewishness in late 1970s to mid-1980s France. Investigating its social, political and religious dimensions, Zachmann’s chapters are structured t­hematically; addressing aspects of Judaism; the legacy of the Holocaust; Jewish social gatherings; anti-Semitism; the Jewish diaspora in Paris; and Zachmann’s own family. Jewishness, therefore, has no

in Representing ethnicity in contemporary French visual culture
Abstract only
Reappraising nineteenth-century stained glass

often meant that stained glass was inadequately illuminated and viewed either, in close proximity or at a great distance, they also demonstrated the versatility of the medium, and presented stained glass panels in varying contexts –​as an art exhibit, secular architectural decoration, and religious furnishing. Within these eclectic exhibition environments, stained glass was seen and compared with a wide range of other exhibits, and this provided new experiences and exciting contexts for viewing and interpreting stained glass in relation to other cultural objects and

in Windows for the world