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Georgian Bloomsbury completes the literary history of Old Bloomsbury that began with Victorian Bloomsbury (1987) and continued with Edwardian Bloomsbury (1994). Covering the years between the First Post-Impressionist Exhibition and The First World War, the book describes and analyzes interrelated literary works by Roger Fry, Desmond MacCarthy, Clive Bell, E.M. Forster, Lytton Strachey, Leonard Woolf, and Virginia Woolf. The works considered include fiction, criticism, essays, and polemics as well as autobiography, journalism and literary history that members of the Bloomsbury Group wrote between 1910 and 1914.
For every great country house of the Georgian period, there was usually also a town house. Chatsworth, for example, the home of the Devonshires, has officially been recognised as one of the country's favourite national treasures - but most of its visitors know little of Devonshire House, which the family once owned in the capital. In part, this is because town houses were often leased, rather than being passed down through generations as country estates were. But, most crucially, many London town houses, including Devonshire House, no longer exist, having been demolished in the early twentieth century. This book seeks to place centre-stage the hugely important yet hitherto overlooked town houses of the eighteenth and early nineteenth centuries, exploring the prime position they once occupied in the lives of families and the nation as a whole. It explores the owners, how they furnished and used these properties, and how their houses were judged by the various types of visitor who gained access.
An extraordinary city, London grew from a backwater in the Classical Age into an important medieval city and significant Renaissance urban center to a modern colossus--full of a free people ever evolving. Roy Porter touches the pulse of his hometown and makes it our own, capturing London's fortunes, people, and imperial glory with vigor and wit. 58 photos.
This major work provides the first comprehensive history of one of modernism's most defining and controversial architectural legacies: the 20th-century drive to provide 'homes for the people'. Vast programmes of mass housing – high-rise, low-rise, state-funded, and built in the modernist style – became a truly global phenomenon, leaving a legacy which has suffered waves of disillusionment in the West but which is now seeing a dramatic, 21st-century renaissance in the booming, crowded cities of East Asia. Providing a global approach to the history of Modernist mass-housing production, this authoritative study combines architectural history with the broader social, political, cultural aspects of mass housing – particularly the 'mass' politics of power and state-building throughout the 20th century. Exploring the relationship between built form, ideology, and political intervention, it shows how mass housing not only reflected the transnational ideals of the Modernist project, but also became a central legitimizing pillar of nation-states worldwide. In a compelling narrative which likens the spread of mass housing to a 'Hundred Years War' of successive campaigns and retreats, it traces the history around the globe from Europe via the USA, Soviet Union and a network of international outposts, to its ultimate, optimistic resurgence in China and the East – where it asks: Are we facing a new dawn for mass housing, or another 'great housing failure' in the making?
The Handbook to the Bloomsbury Group is the most comprehensive available survey of contemporary scholarship on the Bloomsbury Group – the set of influential writers, artists and thinkers whose members included Virginia Woolf, Leonard Woolf, E.M. Forster, John Maynard Keynes, Vanessa Bell, Clive Bell, Duncan Grant and David Garnett. With chapters written by world leading scholars in the field, the book explores novel avenues of thinking about these pivotal figures and their works opened up by the new modernist studies. It brings together overview essays with detailed illustrative case studies, and covers topics as diverse as feminism, sexuality, empire, philosophy, class, nature and the arts. Setting the agenda for future study of Bloomsbury, this is an essential resource for scholars of 20th-century modernist culture.
An in-depth study of how the famed Bloomsbury Group expressed their liberal philosophies and collective identity in visual form "[Fascinating and wide-ranging. . . . Will be enjoyed by both Bloomsbury aficionados and newcomers alike."--Lucinda Willan, V&A Magazine The Bloomsbury Group was a loose collective of forward-thinking writers, artists, and intellectuals in London, with Virginia Woolf, John Maynard Keynes, and E. M. Forster among its esteemed members. The group's works and radical beliefs, spanning literature, economics, politics, and non-normative relationships, changed the course of 20th-century culture and society. Although its members resisted definition, their art and dress imparted a coherent, distinctive group identity. Drawing on unpublished photographs and extensive new research, The Bloomsbury Look is the first in-depth analysis of how the Bloomsbury Group generated and broadcast its self-fashioned aesthetic. One chapter is dedicated to photography, which was essential to the group's visual narrative--from casual snapshots, to amateur studio portraits, to family albums. Others examine the Omega Workshops as a design center, and the evidence for its dress collections, spreading the Bloomsbury aesthetic to the general public. Finally, the book considers the group's extensive participation in 20th-century modernism as artists, models, curators, critics, and collectors.
While Bloomsbury is now associated with Virginia Woolf and her early-twentieth-century circle of writers and artists, the neighborhood was originally the undisputed intellectual quarter of nineteenth-century London. Drawing on a wealth of untapped archival resources, Rosemary Ashton brings to life the educational, medical, and social reformists who lived and worked in Victorian Bloomsbury and who led crusades for education, emancipation, and health for all. Ashton explores the secular impetus behind these reforms and the humanitarian and egalitarian character of nineteenth-century Bloomsbury. Thackeray and Dickens jostle with less famous characters like Henry Brougham and Mary Ward. Embracing the high life of the squares, the nonconformity of churches, the parades of shops, schools, hospitals and poor homes, this is a major contribution to the history of nineteenth-century London.
Argues that the Bloomsbury group's fascination with beasts was integral to their exploration of imperialism, race, gender, sexuality and technology.