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First published in 1998. Design reform in the fields of architecture and the decorative or applied arts became objectified through writings published during the period of 1885 to 1910. This investigation includes, but is not limited to, Art Nouveau in France and Belgium, and the arts and crafts movement in England and the United States. Even though the similar processes of creativity and shared goals of Art Nouveau and the arts and crafts movement have long been recognized, attempts to explore their origins and their points of interrelation with the broader scope of art history have been largely unsuccessful—until now.
Bluecoat is a unique and much-loved Liverpool institution, its oldest city centre building. This book tells the fascinating story of its transformation from charity school to contemporary arts centre, the UK’s first. Its early 18th century origins shed light on the religious and maritime mercantile environment of the growing port, whose merchants supported the school. Echoes from then are revealed in themes explored by artists in the 20th century, including slavery and colonial legacies. The predominant focus is on an inclusive building for the arts, starting with colourful bohemian society, the Sandon, who established an artistic colony in 1907, hosting significant exhibitions by the Post-Impressionists and many leading modern British artists. Bluecoat Society of Arts emerged as the building’s custodians, paving the way for the arts centre which, despite financial struggles and wartime bomb damage, survived and continues to play a prominent role in Liverpool’s and the UK’s culture. Bluecoat is described as where ‘village hall meets the avant-garde’. In its rich story, Picasso, Stravinsky, Yoko Ono, Captain Beefheart, Simon Rattle and the inspirational Fanny Calder are just some of the names encountered, as key strands, including music, visual art, performance and the building’s tenants, are traced.
Architect, teacher, journalist, town planner and cultural entrepreneur, Sir Charles Reilly (1874–1948) was a leading figure of the early twentieth-century British architectural scene. Marketing Modernisms is the first book to take an in-depth look at Reilly’s career, tracing his evolving architectural ethos via a series of case studies of his built work. Among other issues, the author considers Reilly’s involvement in cultural enterprises such as the establishment of the Liverpool Repertory Theatre, his journalism, transatlantic links and town-planning theories. Reilly has been largely overlooked by writers of Modernist histories, but this book restores him to deserved prominence.
Though best known for his role at the forefront of the New Sculpture movement, C. J. Allen also spent more than thirty years as a respected and influential teacher at the University of Liverpool and the Liverpool City School of Art. His dual roles as sculptor and teacher enabled him to establish and nurture a tradition of sculptural practice in Liverpool that continues to this day. C. J. Allen 1862-1956 is the richly illustrated catalog to the first-ever retrospective of Allen's work. Considering everything from Allen's best-known piece, Liverpool's Victoria Monument, to his numerous smaller commissions, the essays in this volume reveal the life, work, and legacy of a master sculptor.
This new study examines how nineteenth-century industrial Lancashire became a leading national and international art centre. By the end of the century almost every major town possessed an art gallery, while Lancashire art schools and artists were recognised at home and abroad. The book documents the remarkable rise of visual art across the county, along with the rise of the commercial and professional classes who supported it. It examines how Lancashire looked to great civilisations of the past for inspiration while also embracing new industrial technologies and distinctively modern art movements. This volume will be essential reading for all those with an interest in the new industrial society of the nineteenth century, from art lovers and collectors to urban and social historians.
Edward Carter Preston was a significant figure in Liverpool’s art scene from the First World War through to his death in 1965. In 1931 he received a commission from Sir Giles Gilbert Scott to prepare a major sculptural scheme for the City’s monumental Anglican Cathedral. Over the next thirty years Carter Preston made fifty sculptures, ten memorials and several reliefs for the Cathedral. Alongside his public achievements he pursued his personal artistic interests, sculpting on a more intimate scale, painting in watercolors, making prints and designing a range of ornamental and utilitarian objects. This exhibition catalogue has a foreword by Ann Compton and includes four essays.
A showcase of the artistic output of Charles Rennie Mackintosh, Herbert MacNair, Margaret and Frances Macdonald, known simply as 'The Four'.