The Avant-Garde in Interwar England : Medieval Modernism and the London Underground

Эта книга исследует связь модернизма с традицией, торговлей, национализмом и духовностью через анализ ассимиляции визуального модернизма в Англии в период между 1910 и 1939 гг. В течение этого периода в Англии бушевали дебаты относительно цели и назначения искусства. На одной стороне были эстетствующие формалисты, во главе с членами лондонской «Группы Блумсбери», куда входили Литтон-Стрэчи, Клайв Белл, Эдвард Морган Форстер, Роджер Фрай, Данкан Грант, Бертран Рассел, журналист и писатель Леонард Вулф и его дети Ванесса и Вирджиния и другие, считавшие, что искусство автономно от окружающей жизни, и отстаивавшие принципы художественного поиска и независимости в жизни и в искусстве, что вызывало у современников бурное негодование. С точки зрения викторианцев, участники группы были слишком раскованны и эксцентричны в своем поведении. «Блумсберийцам» не прощали уничижительной критики, который они подвергали любое проявление ограниченности , вульгарности и меркантилизма. С другой стороны были, так называемые «средневековые модернисты» Англии (многие из которых были выходцами с провинциального и индустриального Севера), отстаивавшие мнение, что у искусства есть прямые социальные функции и моральная ответственность. Автор демонстрирует картину итогов горячего обмена мнениями между этими двумя лагерями, когда искусство модерна было, наконец, принято британской публикой. Историки английского модернизма обычно подчеркивают оригинальную роль, сыгранную «Группой Блумсбери» в определении, внедрении и торжестве модернизма, но исследование автора вместо этого доказывает, что в период водораздела между двумя мировыми войнами, актуальное искусство наиболее часто понималось и трактовалось в терминах, введенных «средневековыми модернистами». Как следует из названия, этим художникам и интеллектуалам были близки идеи модернистского искусства средневековья, и они опирались на идеи Джона Рёскина, Уильяма Морриса, и других романтичных медиевистов XIX в. С их точки зрения, модернизм был духовным, национальным, и экономическим движением, новым художественным восприятием, предназначенным оживить культуру Англии, также как её коммерческий экспорт, когда применялся в рекламе и индустриальном дизайне. Эта книга, исследует связи искусства, торговли, и национальной идентификации в Англии в первые десятилетия XX в. на примере жизни и работы Фрэнка Пика - управляющего директора Лондонского метрополитена, чей известный патронаж модернистов - художников, архитекторов и дизайнеров руководствовался желанием объединить прикладное искусство XIX в. с промышленностью двадцатого столетия и массовой культурой. Как Пик, один из передовых сторонников «средневекового модернизма», преобразовал первичную систему общественного транспорта Лондона в достигший высшей точки развития проект прикладного искусства, и как сегодняшние читатели должны расценивать это достижение Пика? Что мы можем сейчас сказать относительно наследства этого духовного патрона, стремившегося преобразовать все пространство Лондона в произведение постимпрессионистского искусства? И чем действительно был «средневековый модернизм» – движением пионеров или мечтателей?Образцы сканов: ------------ - Термин автора.

The Avant-Garde in Interwar England addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. During this period, a debate raged across the nation concerning the purpose of art in society. On one side were the aesthetic formalists, led by members of London's Bloomsbury Group, who thought art was autonomous from everyday life. On the other were England's so-called medieval modernists, many of them from the provincial North, who maintained that art had direct social functions and moral consequences. As Michael T. Saler demonstrates in this fascinating volume, the heated exchange between these two camps would ultimately set the terms for how modern art was perceived by the British public.

Histories of English modernism have usually emphasized the seminal role played by the Bloomsbury Group in introducing, celebrating, and defining modernism, but Saler's study instead argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid out by the medieval modernists. As the name implies, these artists and intellectuals closely associated modernism with the art of the Middle Ages, building on the ideas of John Ruskin, William Morris, and other nineteenth-century romantic medievalists. In their view, modernism was a spiritual, national, and economic movement, a new and different artistic sensibility that was destined to revitalize England's culture as well as its commercial exports when applied to advertising and industrial design.

This book, then, concerns the busy intersection of art, trade, and national identity in the early decades of twentieth-century England. Specifically, it explores the life and work of Frank Pick, managing director of the London Underground, whose famous patronage of modern artists, architects, and designers was guided by a desire to unite nineteenth-century arts and crafts with twentieth-century industry and mass culture. As one of the foremost adherents of medieval modernism, Pick converted London's primary public transportation system into the culminating project of the arts and crafts movement. But how should today's readers regard Pick's achievement? What can we say of the legacy of this visionary patron who sought to transform the whole of sprawling London into a post-impressionist work of art? And was medieval modernism itself a movement of pioneers or dreamers? In its bold engagement with such questions, The Avant-Garde in Interwar England will surely appeal to students of modernism, twentieth-century art, the cultural history of England, and urban history.

The Avant-Garde in Interwar England addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. During this period, a debate raged across the nation concerning the purpose of art in society. On one side were the aesthetic formalists, led by members of London's Bloomsbury Group, who thought art was autonomous from everyday life. On the other were England's so-called medieval modernists, many of them from the provincial North, who maintained that art had direct social functions and moral consequences. As Michael T. Saler demonstrates in this fascinating volume, the heated exchange between these two camps would ultimately set the terms for how modern art was perceived by the British public.

Histories of English modernism have usually emphasized the seminal role played by the Bloomsbury Group in introducing, celebrating, and defining modernism, but Saler's study instead argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid out by the medieval modernists. As the name implies, these artists and intellectuals closely associated modernism with the art of the Middle Ages, building on the ideas of John Ruskin, William Morris, and other nineteenth-century romantic medievalists. In their view, modernism was a spiritual, national, and economic movement, a new and different artistic sensibility that was destined to revitalize England's culture as well as its commercial exports when applied to advertising and industrial design.

This book, then, concerns the busy intersection of art, trade, and national identity in the early decades of twentieth-century England. Specifically, it explores the life and work of Frank Pick, managing director of the London Underground, whose famous patronage of modern artists, architects, and designers was guided by a desire to unite nineteenth-century arts and crafts with twentieth-century industry and mass culture. As one of the foremost adherents of medieval modernism, Pick converted London's primary public transportation system into the culminating project of the arts and crafts movement. But how should today's readers regard Pick's achievement? What can we say of the legacy of this visionary patron who sought to transform the whole of sprawling London into a post-impressionist work of art? And was medieval modernism itself a movement of pioneers or dreamers? In its bold engagement with such questions, The Avant-Garde in Interwar England will surely appeal to students of modernism, twentieth-century art, the cultural history of England, and urban history.

The Avant-Garde in Interwar England addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. During this period, a debate raged across the nation concerning the purpose of art in society. On one side were the aesthetic formalists, led by members of London's Bloomsbury Group, who thought art was autonomous from everyday life. On the other were England's so-called medieval modernists, many of them from the provincial North, who maintained that art had direct social functions and moral consequences. As Michael T. Saler demonstrates in this fascinating volume, the heated exchange between these two camps would ultimately set the terms for how modern art was perceived by the British public.Histories of English modernism have usually emphasized the seminal role played by the Bloomsbury Group in introducing, celebrating, and defining modernism, but Saler's study instead argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid out by the medieval modernists. As the name implies, these artists and intellectuals closely associated modernism with the art of the Middle Ages, building on the ideas of John Ruskin, William Morris, and other nineteenth-century romantic medievalists. In their view, modernism was a spiritual, national, and economic movement, a new and different artistic sensibility that was destined to revitalize England's culture as well as its commercial exports when applied to advertising and industrial design.This book, then, concerns the busy intersection of art, trade, and national identity in the early decades of twentieth-century England. Specifically, it explores the life and work of Frank Pick, managing director of the London Underground, whose famous patronage of modern artists, architects, and designers was guided by a desire to unite nineteenth-century arts and crafts with twentieth-century industry and mass culture. As one of the foremost adherents of medieval modernism, Pick converted London's primary public transportation system into the culminating project of the arts and crafts movement. But how should today's readers regard Pick's achievement? What can we say of the legacy of this visionary patron who sought to transform the whole of sprawling London into a post-impressionist work of art? And was medieval modernism itself a movement of pioneers or dreamers? In its bold engagement with such questions, The Avant-Garde in Interwar England will surely appeal to students of modernism, twentieth-century art, the cultural history of England, and urban history. "The Avant-Garde in Interwar England addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. During this period, a debate raged across the nation concerning the purpose of art in society. On one side were the aesthetic formalists, led by members of London's Bloomsbury Group, who thought art was autonomous from everyday life. On the other were England's so-called medieval modernists, many of them from the provincial North, who maintained that art had direct social functions and moral consequences. As Michael T. Saler demonstrates in this volume, the heated exchange between these two camps would ultimately set the terms for how modern art was perceived by the British public." "The Avant-Garde in Interwar England will appeal to students of modernism, twentieth-century art, the cultural history of England, and urban history."--Jacket This book addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. Specifically, The Avant-Garde in Interwar England explores the life of Frank Pick, managing director of the London Underground, whose patronage of modern artists, architects, and designers was guided by a desire to unite nineteenth-century arts and crafts with twentieth-century industry and mass culture. Author Saler demonstrates that modernism was widely associated in England with medievalism, and was also thought to have direct social, economic, and spiritual benefits for the nation. Histories of English modernism usually emphasize the role played by the Bloomsbury Group in introducing and defining it, but Michael Saler's study argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid by the mediaeval modernists This text addresses modernism's ties to tradition, commerce, nationalism and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. Specifically, the book explores the life of Frank Pick, managing director of the London Underground THIS IS THE STORY OF HOW THE NINETEENTH-CENTURY English arts and crafts merged with the twentieth-century avant-garde, romantic medievalism with visual modernism, "functionalism" with "formalism."