As with other contemporary cultural forms in Britain, such as literature and music, the visualarts were caught in the throes of change during the interwar years, which was both profound and deeply unsettling to established mores and conventions. Although the impact of intellectual modernism and avant-gardism on the visualarts in Britain after 1918 was not nearly as momentous as in some continental countries like France and Germany, many modernist ideas and styles would be adopted at some point during the 1920s and 1930s by native artists. 1 This was a new
‘Poussin was among the first painters to represent this
particular moment of the Rinaldo and Armida episode’, 5 but it was an almost
simultaneous rendering of the same scene by another young artist with
recent first-hand experience of Italy, which helps to establish the
earliest connection between Tasso’s poem and the visualarts in
In the summer of 1628 the Dutch painter Anthony Van Dyck
This book highlights sport as a key inspiration for an international range of modernist artists. With sport attracting large crowds, being written about in the press, filmed and broadcast, and with its top stars enjoying celebrity status, sport has claims to be the most pervasive cultural form of the early twentieth century. Modernist artists recognised sport’s importance in their writings and production. This book examines a diverse set of paintings, photographic works, films, buildings, and writings from artists in France, Germany, Italy and the Soviet Union to establish the international appeal of the theme while acknowledging local and stylistic differences in its interpretation. From the fascination with the racing cyclist in paintings by Umberto Boccioni, Lyonel Feininger and Jean Metzinger, to the designs for stadiums in fascist Italy and the Soviet Union, the works examined are compelling both in visual and ideological terms. Encompassing studies of many avant-garde movements, including Italian futurism, cubism, German expressionism, Le Corbusier’s architecture, Soviet constructivism, Italian rationalism and the Bauhaus, this book interrogates the ways in which sport and modernism interconnect.
This book focuses on performance construed in the largest sense, as the deployment of a personal style, as imagery of various kinds, and even as books, which in the early modern era often include strongly performative elements. The chapters in the book fall logically into four groups: on personal style and the construction of the self, on drama, on books, and on the visual arts. Personal style is performative in the simple sense that it is expressive and in the more complex sense that it thereby implies that there is something to express. The book takes a broad view of the question of performance through disguise. Disguises in Elizabethan drama are nearly always presumed to be impenetrable, effectively concealing the self, whereas costume is designed to adorn the self, to make the self more strikingly recognizable. The book considers the changing effects of disguise and costume both on concepts of the self and on assumptions about the kind of reality represented by theater. As a practice that makes performance visible as such, theater is characterized by an ongoing reflection on the very norms that make dramatic performance legible and indeed possible. Images are never more performative in and for a culture than when they offer a view onto the differences through which culture is made.
By the early years of the twentieth century, the fame of Torquato Tasso and his work in England had started to wane. This book of Tasso's literary, artistic, and biographical afterlives is an attempt to stimulate a revival of 'sympathetic interest' in a now undeservedly underappreciated epic masterpiece and its fascinating poet. It addresses the simultaneous and long-standing impact of the poet's work, particularly his epic Gerusalemme liberata, on opera and the visual arts. The first strand of the book traces the reception and artistic afterlives in England, focused on the amorous interlude of Armida and Rinaldo in her enchanted garden in cantos XV and XVI. Initially, the book concentrates on the literary impact of Armida's arrival in the poem, examining how the poets Abraham Fraunce and Samuel Daniel both responded to canto IV of Tasso's poem. The poet, Edmund Spenser, regarded Gerusalemme liberata as a significant new epic model as he seemed to both reflect and pre-empt its enormous popularity in other artistic media. The book investigates the impact in England of visual depictions of scenes from Tasso's romantic episodes, featuring both Rinaldo and Armida and the almost equally popular Tancredi and Erminia. It explores ambitious musical adaptations of the episode for the London stage in the native form of dramatic opera in John Dennis's 'Rinaldo and Armida: A Tragedy'. Among other things, the second strand of the book analyses many imaginative engagements with aspects of the poet's legendary biography, such as his prolonged imprisonment in Ferrara.
Regarding the real: cinema, documentary, and the visual arts develops an approach to the study of documentary film focussing on its aesthetic and cultural relations to the modern visual arts, especially: animation, assemblage, photography, painting, and architecture. In particular, it examines how documentary practices have often incorporated methods and expressive techniques derived from these art forms. Combining close analysis with cultural history, the book re-assesses the influence of the modern visual arts in subverting the structures of realism typically associated with documentary film, and considers the work of figures whose preferred film language is associative, and fragmentary, and for whom the documentary remains an open form, an unstable expressive phenomenon that at its best interrogates its own narratives, and intentions. In the course of its discussion, the book charts a path that leads from Len Lye to Hiroshi Teshigahara, and includes along the way figures such as Joseph Cornell, Johan van der Keuken, William Klein, Jean-Luc Godard, Jonas Mekas, Raymond Depardon.
The issue of ethnicity in France, and how ethnicities are represented there visually, remains one of the most important and polemical aspects of French post-colonial politics and society. This is the first book to analyse how a range of different ethnicities have been represented across contemporary French visual culture. Via a wide series of case studies – from the worldwide hit film Amélie to France’s popular TV series Plus belle la vie – it probes how ethnicities have been represented across different media, including film, photography, television and the visual arts. Four chapters examine distinct areas of particular importance: national identity, people of Algerian heritage, Jewishness and France’s second city Marseille.
This book presents a study that undertakes an examination of participatory practices in contemporary theatre, performance and the visual arts, setting these against the broader social and political horizons of civic participation. It reconsiders the status of participation, with particular emphasis on participatory art both beyond a judgement of its social qualities as well as the confines of format and devising. The book attempts a cross-disciplinary discussion of participation, bringing together examples from the field of applied and community theatre, performance art and participatory visual arts. Gestures of participation in performance indicate possibilities for reconfiguring civic participation in public spaces in unexpected ways. Thus, less emphasis is laid on direct opposition and instead seeking a variety of modes of resisting co-optation, through unsolicited, vicarious or delicate gestures of participation. The book examines the question of institutional critique in relation to participatory art. It moves on to address the relationship between participatory art and the concept of 'impact'. A close examination of one workshop setting using the methodological framework of the 'theatre of the oppressed' in the context of a political party-led initiative follows. The book follows two conceptually inspired performance projects Where We Are Not? and If I Could Take Your Place? Finally, it emphasizes on how common-sense assumptions around audience participation in theatre and performance theory are called into question by the artwork's foregrounding of sleep as a mode of participation.
After many years at the margins of historical investigation, the late medieval English gentry are widely regarded as an important and worthy subject for academic research. This book aims to explore the culture of the wide range of people whom we might include within the late medieval gentry, taking in all of landed society below the peerage, from knights down to gentlemen, and including those aspirants to gentility who might under traditional socio-economic terms be excluded from the group. It begins by exploring the origins of, and influences on, the culture of the late medieval gentry, thus contributing to the ongoing debate on defining the membership of this group. The book considers the gentry's emergence as a group distinct from the nobility, and looks at the various available routes to gentility. Through surveys of the gentry's military background, administrative and political roles, social behaviour, and education, it seeks to provide an overview of how the group's culture evolved, and how it was disseminated. The book offers a broad view of late medieval gentry culture, which explores, reassesses and indeed sometimes even challenges the idea that members of the gentry cultivated their own distinctive cultural identity. The evolution of the gentleman as a peer-assessed phenomenon, gentlemanly behaviour within the chivalric tradition, the education received by gentle children, and the surviving gentry correspondence are also discussed. Although the Church had an ambivalent attitude toward artistic expression, much of the gentry's involvement with the visual arts was religious in focus.
Within the visual arts, speculation concerning the paranormal, haunting, spiritualism, and spirit photography expanded enormously in the first decade of the twenty-first century. Focusing on people's complex relationship with technology, this book explores our culture's continued fascination with the spectral, the ghostly and the paranormal. Informed by history and the visual tradition of spiritualism and psychical research, it cites that tradition within our contemporary concerns, such as landscape and environment, and recent technological developments. The book discusses the role of vitalism in contemporary theory, reflecting on what Bergson's interest in spiritualism suggests about the historical and theoretical complexities that lie behind the current uses of vitalism. It examines the twitching gestural engagements with a variety of devices, instruments, and technologies, including the typewriter, the pianola, the slate, and the phonograph. The book highlights that spiritualist phenomena are the result of mendacity on the one side and credulous belief on the other; Dada photomontage the result of painfully keen-eyed despair and a powerful drive to experiment. Resiting spirit photography and the production of 'ectoplasm' within the theatrical tradition of melodrama, the book considers spiritualist manifestations in terms of 'performances for camera'. It pays attention to exhibitions, staged in galleries in the UK and the United States between 2003 and 2007, which paired spirit photographs with examples of contemporary art photography. Finally, the book considers various spectral emanations moving across space and time, and across different discourses the work of John Ruskin, to discuss the relations between haunting and ecological catastrophe.