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The visual culture of a new profession
Author: Anca I. Lasc

This book analyzes the early stages of the interior design profession as articulated within the circles involved in the decoration of the private home in the second half of nineteenth-century France. It argues that the increased presence of the modern, domestic interior in the visual culture of the nineteenth century enabled the profession to take shape. Upholsterers, cabinet-makers, architects, stage designers, department stores, taste advisors, collectors, and illustrators, came together to “sell” the idea of the unified interior as an image and a total work of art. The ideal domestic interior took several media as its outlet, including taste manuals, pattern books, illustrated magazines, art and architectural exhibitions, and department store catalogs.

The chapters outline the terms of reception within which the work of each professional group involved in the appearance and design of the nineteenth-century French domestic interior emerged and focus on specific works by members of each group. If Chapter 1 concentrates on collectors and taste advisors, outlining the new definitions of the modern interior they developed, Chapter 2 focuses on the response of upholsterers, architects, and cabinet-makers to the same new conceptions of the ideal private interior. Chapter 3 considers the contribution of the world of entertainment to the field of interior design while Chapter 4 moves into the world of commerce to study how department stores popularized the modern interior with the middle classes. Chapter 5 returns to architects to understand how their engagement with popular journals shaped new interior decorating styles.

Author: John Potvin

This book carefully considers the myriad and complex relationships between queer male masculinity and interior design, material culture and aesthetics in Britain between 1885 and 1957 - that is bachelors of a different sort - through rich, well-chosen case studies. It pays close attention to particular homes and domestic interiors of Lord Ronald Gower, Alfred Taylor, Oscar Wilde, Charles Shannon and Charles Ricketts, Edward Perry Warren and John Marshall, Sir Cedric Morris and Arthur Lett-Haines, Noel Coward and Cecil Beaton. The book underscores the discursive history and conceptual parameters of the bachelor as these collided with queer sexualities through social and cultural perceptions. It focuses on the seven deadly sins of the modern bachelor: queerness, idolatry, decadence, askesis, decoration, glamour, and finally, artifice. The seven deadly sins of the modern bachelor comprise a contested site freighted with contradiction, vacillating between and revealing the fraught and distinctly queer twining of shame and resistance. Together the furniture and collections that filled Gower's Windsor home compel us to search out the narratives that bric-a-brac at once enliven and expose well beyond the shadows of the endless and meaningless accumulation that late Victorians were said to been have afflicted by.

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John Potvin

4 Décor and sobriety Throughout the nineteenth century the image of the dandy increasingly became one of decadence with growing fears swirling around the degeneration and decline of national health and wellbeing. It was not simply the body of men that was of concern, but also the home and its interior design, for it was within the confines of the domestic interior that gender and sexual health were initially learnt and safeguarded. The figure of the dandy, himself a resolute bachelor, required and created exacting spaces, decorated in a manner befitting his

in Deco Dandy
The southern African settler diaspora after decolonisation
Jean Smith

decolonisation on British migrants through specific cultural practices and performances of identity and nationalism, such as accent, self-presentation, interior design, dress, outdoor leisure in the ‘bush’, support of a national sports team and attendance at a Rhodesian reunion in Las Vegas. This attention to the micro-levels of decolonisation shows it to be a process uncontained by the

in Cultures of decolonisation
Managing madness in early nineteenth-century asylums

An archaeology of lunacy examines the historic lunatic asylum from an interdisciplinary perspective, employing methods drawn from archaeology, social geography, and history to create a holistic view of the built heritage of the asylum as a distinctive building type. In the popular imagination, historic lunatic asylums were dark, monolithic, and homogenous, instruments for social confinement and punishment. This book aims to redress this historical reputation, showing how the built environment and material worlds of lunatic asylums were distinctive and idiosyncratic – and highly regional. They were also progressive spaces and proving grounds of architectural experimentation, where the reformed treatment practices known as moral management were trialled and refined. The standing remains of the nineteenth-century lunatic asylum system represent a unique opportunity to study a building-type in active transition, both materially and ideologically. When they were constructed, asylums were a composite of reform ideals, architectural materials, and innovative design approaches. An archaeological study of these institutions can offer a materially focused examination of how the buildings worked on a daily basis. This study combines critical analysis of the architecture, material remains, and historical documentary sources for lunatic asylums in England and Ireland. Students and scholars of later historical archaeology and built heritage will find the book a useful overview of this institutional site type, while historians of medicine will find the focus on interior design and architecture of use. The general public, for whom asylums frequently represent shadowy ruins or anonymous redevelopments, may be interested in learning more about the buildings.

Transnational productions and practices, 1945–70
Editors: Ruth Craggs and Claire Wintle

What were the distinctive cultures of decolonisation that emerged in the years between 1945 and 1970, and what can they uncover about the complexities of the ‘end of empire’ as a process? Cultures of Decolonisation brings together visual, literary and material cultures within one volume in order to explore this question. The volume reveals the diverse ways in which cultures were active in wider political, economic and social change, working as crucial gauges, microcosms, and agents of decolonisation.

Individual chapters focus on architecture, theatre, museums, heritage sites, fine art, and interior design alongside institutions such as artists’ groups, language agencies and the Royal Mint in Africa, Asia, the Caribbean, and Europe. Drawing on a range of disciplinary perspectives, these contributions offer revealing case studies for those researching decolonisation at all levels across the humanities and social sciences.

The collection demonstrates the transnational character of cultures of decolonisation (and of decolonisation itself), and illustrates the value of comparison – between different sorts of cultural forms and different places – in understanding the nature of this dramatic and wide-reaching geopolitical change. Cultures of Decolonisation illustrates the value of engaging with the complexities of decolonisation as enacted and experienced by a broad range of actors beyond ‘flag independence’ and the realm of high politics. In the process it makes an important contribution to the theoretical, methodological and empirical diversification of the historiography of the end of empire.

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Anca I. Lasc

– as stylistically unified wholes.5 As such, the new generation of graduates did not merely espouse new styles over those of the past; it also threatened to destroy the faubourg’s long-held belief in guilds and trades, each responsible for a small part of what could be a larger – though yet unnamed – profession. 2 Interior decorating in nineteenth-century France This book analyzes the early stages of the interior design profession as it began to be articulated within various circles involved in the decoration of the private home in the second half of the

in Interior decorating in nineteenth-century France
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‘’Mid pleasures and palaces’
Hollie Price

The introduction establishes the book’s focus on depictions of domestic life in 1940s feature films and their engagement with trends in prewar culture – with particular reference to The First of the Few (Leslie Howard, 1942). Across a number of disciplines, explorations of interwar middlebrow fiction and culture, interior design, women’s magazines, the domestic everyday and femininity, have highlighted a distinctive construction, and experience, of modernity: centred on the home, privileging connections to the past, and exemplified by suburbia. Structured in three sections, this introduction outlines the book’s re-contextualising of 1940s British films as part of this field of study and introduces its approach to exploring the relationship between the visual style of British 1940s films and their wider cultural context: it suggests how this research builds on studies of British cinema analysing the relationship between film aesthetics and extra-cinematic culture; it sets out the historical context for the development of ideas surrounding domestic life and modernity during the interwar years; and it introduces the four visual modes of address analysed in depth in the book’s chapters.

in Picturing home
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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.

The Musée centennal du mobilier et de la décoration and the legacy of proto-interior designers
Anca I. Lasc

and a record number of interior design pattern books contracted to both national and foreign publishing houses, Georges Rémon was a proponent of thematic decoration as translated first in historical revival styles and exotic décor and, later, in the naturebased style of Art Nouveau. As shown in Chapter 3, a contemporary critic described Rémon’s designs as “interior dreamscapes” (intérieurs revâbles) that brought distant pasts and foreign spaces into nineteenth­-century rooms. In his work for the Musée centennal, the decorator took to heart the critic and fine arts

in Interior decorating in nineteenth-century France