In 1993 Amanda Vickery's now well-known historiographical review 'Golden Age to Separate Spheres?' provided an exhaustive survey of the interpretation of the position, identity and role of English women from the early modern to the Victorian periods.(1) It was a timely project in response the wealth of interest and research in that field over the previ
Studies of the National Portrait Gallery have analysed its history as an institution, as an architectural space, or as instrumental in the development of portraiture (1).
Textiles and dress occupy a central position within the realm of material culture. Apart from fulfilling the basic human need for clothing and protection, textiles play important political, economic, and religious functions.
Throughout my reading of Professor Parry’s new book I was distracted by a low, angry, buzzing noise. On reflection, I realized it was the sound of Hugh Trevor-Roper spinning in his grave. The scale of the chasm between the two authors can scarcely be exaggerated.
In the words of its author, this engaging book ‘tells of the shadows of objects and of images in the brain and, as such, of the only realities that cannot entirely escape from appropriation’ (p. ix). The object in question is Florence, understood both as a material place and as a mythical construction.
In 2001, during a Round Table discussion at the College Art Association Conference in Chicago, the Czech art historian and critic Martina Pachmanová raised the issue of agency in the construction of the dominant narratives of East-Central European art.
The Grand Tour was ‘a phenomenon which shaped the creative and intellectual sensibilities of some of the eighteenth century’s greatest artists, writers and thinkers’. So reads the opening paragraph of Adam Matthew Digital’s new website, The Grand Tour. It is a substantial claim to make, but a fair one.
'Never before has such a comprehensive study on Morris been published, and ... it will stand as the standard work on Morris long after the exhibition it commemorates is over.' The book/catalogue that accompanies the exhibition at the Victoria and Albert M useum marking the centenary of Morris's death makes a large claim for itself.
This is a beautifully illustrated book of serious scholarship and the three editors and the other contributing authors are to be congratulated.
The later 16th century in Italy was a period of 'mental stagnation' wrote G. R. Elton.(1) This highly questionable statement apparently set in motion the entire research project from which the present group of essays emerged (p. 76, n. 64); they contest its validity.