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"Hart, Imogen"
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Craft, War, and Cultural Diplomacy
The “Modern British Crafts” exhibition, which toured North America between 1942 and 1945, sheds light on the importance of craft in the development of national and diplomatic ideologies. Presented and received as a legacy of the transatlantic Arts and Crafts movement, the exhibition reinforced an existing tradition of cultural exchange that could stand for a political alliance. Foregrounding craft, domestic space, and the work of women, and echoing images of air raid damage, the exhibition dismantled assumptions that the domestic and the feminine were remote from war and avant-garde art.
Journal Article
Craft, War, and Cultural Diplomacy
The “Modern British Crafts” exhibition, which toured North America between 1942 and 1945, sheds light on the importance of craft in the development of national and diplomatic ideologies. Presented and received as a legacy of the transatlantic Arts and Crafts movement, the exhibition reinforced an existing tradition of cultural exchange that could stand for a political alliance. Foregrounding craft, domestic space, and the work of women, and echoing images of air raid damage, the exhibition dismantled assumptions that the domestic and the feminine were remote from war and avant-garde art.
Journal Article
History painting and its critics, ca. 1870-1910
Art critics in the years before and after 1900 frequently discussed British history painting using terminology associated with drama and decoration. This article explores these themes in contemporary criticism of history paintings by Edwin Austin Abbey, Frank Dicksee, Edward Poynter, Solomon J. Solomon, and J. W. Waterhouse, among others. [Publication Abstract]
Journal Article
The Arts and Crafts Movement
This chapter examines the relations between three British ‘little magazines’ which ran from 1884 to 1906: The Century Guild Hobby Horse, The Evergreen, and The Acorn. In particular, it considers their association with the Arts and Crafts movement and the implications this has for a revised understanding of the features of modernity and hence of an emerging modernism.
Book Chapter
The designs of William Morris
Morris the Pre-RaphaeliteWilliam Morris was determined to make the world a more beautiful place. The previous chapter cited one of Morris's most famous sayings: ‘Apart from the desire to produce beautiful things, the leading passion of my life has been and is hatred of modern civilization.’ In that context, the second half of this quotation was of highest importance. Here, however, the first half deserves attention. Most of Morris's life was spent responding to his ‘desire to produce beautiful things’. The ‘things’ Morris made were usually what we would categorize as ‘decorative art’, but Morris's work also challenged the divisions previously drawn between the ‘fine’ and the ‘decorative’. Working as a visual artist with his Pre-Raphaelite friends from his student days in the 1850s, Morris not only found an outlet for his urge to create beauty, but also developed another principle that would define his career: the ideal of collaboration. Through collaboration, Morris furthered his goal of combining the arts, not only the ‘fine’ and the ‘decorative’, but also the visual and the literary.Whether we understand Pre-Raphaelitism as a historical phenomenon or as a state of mind it is a helpful concept when dealing with Morris. His work fits the bill if we define Pre-Raphaelitism as characterized by a disillusionment with contemporary artistic practice that manifests itself in the evocation of an imagined medieval period, specifically pre-Renaissance, when art was freely expressive and lacked the homogenizing polish perceived to characterize the prevailing style ever since Raphael.
Book Chapter