This paper attempts to contextualize Mondrian‘s few writings on fashion within his larger interes... more This paper attempts to contextualize Mondrian‘s few writings on fashion within his larger interest in oppositions and the work of early fashion theorists, who similarly framed dress in terms of binaries and antonyms. Like Mondrian, early fashion theorists were invested in ideas of opposition and universality, similarities that suggest that Mondrian may find conceptual allies in the first generation of fashion theorists, particularly J. C. Flugel, Thorstein Veblen, and Georg Simmel. Mondrian‘s largely overlooked approach to fashion theory sheds light on the understanding of his complex aesthetic philosophy, and, while much has been written about Mondrian‘s influence on fashion, there remains a need to navigate Mondrian‘s own inspiration by fashion.
Age, Culture, Humanities: An Interdisciplinary Journal
The image of the aged parent or grandparent sitting contentedly before the hearth is a canonical ... more The image of the aged parent or grandparent sitting contentedly before the hearth is a canonical trope in Victorian visual culture. The freside was, at that time, a signifcant center of the home and family, and older members of the household were viewed as principal organizing forces around this central gathering place. This article examines the archetypal image of the senescent hearthside fgure in order to better evaluate the larger context in which Victorian aging was visually interpreted and generally understood. By examining depictions of this theme by the popular British painters Walter Dendy Sadler and Frederick Daniel Hardy, this study demonstrates some ways in which art history may proft from age studies in formulating expanded readings of such material.
Age, Culture, Humanities: An Interdisciplinary Journal
The image of the aged parent or grandparent sitting contentedly before the hearth is a canonical ... more The image of the aged parent or grandparent sitting contentedly before the hearth is a canonical trope in Victorian visual culture. The freside was, at that time, a signifcant center of the home and family, and older members of the household were viewed as principal organizing forces around this central gathering place. This article examines the archetypal image of the senescent hearthside fgure in order to better evaluate the larger context in which Victorian aging was visually interpreted and generally understood. By examining depictions of this theme by the popular British painters Walter Dendy Sadler and Frederick Daniel Hardy, this study demonstrates some ways in which art history may proft from age studies in formulating expanded readings of such material.
This paper attempts to contextualize Mondrian‘s few writings on fashion within his larger interes... more This paper attempts to contextualize Mondrian‘s few writings on fashion within his larger interest in oppositions and the work of early fashion theorists, who similarly framed dress in terms of binaries and antonyms. Like Mondrian, early fashion theorists were invested in ideas of opposition and universality, similarities that suggest that Mondrian may find conceptual allies in the first generation of fashion theorists, particularly J. C. Flugel, Thorstein Veblen, and Georg Simmel. Mondrian‘s largely overlooked approach to fashion theory sheds light on the understanding of his complex aesthetic philosophy, and, while much has been written about Mondrian‘s influence on fashion, there remains a need to navigate Mondrian‘s own inspiration by fashion.
In his book American Picturesque, John Conron asserts that the picturesque “leads a nineteenth-ce... more In his book American Picturesque, John Conron asserts that the picturesque “leads a nineteenth-century life very much distinguishable from its eighteenth century predecessors.” How was the nineteenth century life of the picturesque different as seen through such cottage scene pictures? What was uniquely picturesque about the Victorian cottage garden and its depiction by artists, especially those working with watercolors? How do the characters populating these pictures correspond with the favored picturesque figures found in Price? By addressing the taste for cottage garden pictures, and the work of artists like Helen Allingham and Thomas James Lloyd, one may perhaps uniquely access the Victorian life of the picturesque ideal.
The insertion of an undressing body into the company of dressed figures in paintings of quotidian... more The insertion of an undressing body into the company of dressed figures in paintings of quotidian scenes reveals particular apprehensions about eroticism, appropriateness, and “the other.” In such images, the idea of the other can function in regard to the dressed or undressed figure: who is the alter ego here? Although some recent work on Victorian painting has grappled with the period’s concerns about nudity, there remains a great deal to be said about undress: the grey area between the highly-‐‑charged realm of the body and the sphere of fashion. By exploring these ideas through Victorian paintings of paired dressed and undressing figures, the idea of “otherness” in Victorian art can make itself apparent in new ways, even implicating Queen Victoria as the highest expression of this emblematic phenomenon.
In 1890, Queen Victoria commissioned John Lockwood Kipling to create a sumptuous ‘Indian dining r... more In 1890, Queen Victoria commissioned John Lockwood Kipling to create a sumptuous ‘Indian dining room’ for Osborne House, her summer palace on the Isle of Wight. This room later came to be known as the Durbar Room, a great hall in which the queen displayed many of the gifts she received from Indian princes as Empress of India. As a strange amalgam of private and public space, dining room and museum, the Durbar Room was an indulgent project. Originally constructed by Sikh artisans led by Bhaj Ram Singh, the room was only opened to the public after the queen’s death. When Osborne House became a convalescent home for retired military officers, the room was maintained as a kind of museum where a selection of decadent Jubilee presents was displayed to an eager public. The Durbar Room is also interesting as a popular subject for picture postcards, and many views of the room have been printed and sent by post since the room opened to the public in 1904. The Durbar Room is a unique case stud...
This paper attempts to contextualize Mondrian‘s few writings on fashion within his larger interes... more This paper attempts to contextualize Mondrian‘s few writings on fashion within his larger interest in oppositions and the work of early fashion theorists, who similarly framed dress in terms of binaries and antonyms. Like Mondrian, early fashion theorists were invested in ideas of opposition and universality, similarities that suggest that Mondrian may find conceptual allies in the first generation of fashion theorists, particularly J. C. Flugel, Thorstein Veblen, and Georg Simmel. Mondrian‘s largely overlooked approach to fashion theory sheds light on the understanding of his complex aesthetic philosophy, and, while much has been written about Mondrian‘s influence on fashion, there remains a need to navigate Mondrian‘s own inspiration by fashion.
Age, Culture, Humanities: An Interdisciplinary Journal
The image of the aged parent or grandparent sitting contentedly before the hearth is a canonical ... more The image of the aged parent or grandparent sitting contentedly before the hearth is a canonical trope in Victorian visual culture. The freside was, at that time, a signifcant center of the home and family, and older members of the household were viewed as principal organizing forces around this central gathering place. This article examines the archetypal image of the senescent hearthside fgure in order to better evaluate the larger context in which Victorian aging was visually interpreted and generally understood. By examining depictions of this theme by the popular British painters Walter Dendy Sadler and Frederick Daniel Hardy, this study demonstrates some ways in which art history may proft from age studies in formulating expanded readings of such material.
Age, Culture, Humanities: An Interdisciplinary Journal
The image of the aged parent or grandparent sitting contentedly before the hearth is a canonical ... more The image of the aged parent or grandparent sitting contentedly before the hearth is a canonical trope in Victorian visual culture. The freside was, at that time, a signifcant center of the home and family, and older members of the household were viewed as principal organizing forces around this central gathering place. This article examines the archetypal image of the senescent hearthside fgure in order to better evaluate the larger context in which Victorian aging was visually interpreted and generally understood. By examining depictions of this theme by the popular British painters Walter Dendy Sadler and Frederick Daniel Hardy, this study demonstrates some ways in which art history may proft from age studies in formulating expanded readings of such material.
This paper attempts to contextualize Mondrian‘s few writings on fashion within his larger interes... more This paper attempts to contextualize Mondrian‘s few writings on fashion within his larger interest in oppositions and the work of early fashion theorists, who similarly framed dress in terms of binaries and antonyms. Like Mondrian, early fashion theorists were invested in ideas of opposition and universality, similarities that suggest that Mondrian may find conceptual allies in the first generation of fashion theorists, particularly J. C. Flugel, Thorstein Veblen, and Georg Simmel. Mondrian‘s largely overlooked approach to fashion theory sheds light on the understanding of his complex aesthetic philosophy, and, while much has been written about Mondrian‘s influence on fashion, there remains a need to navigate Mondrian‘s own inspiration by fashion.
In his book American Picturesque, John Conron asserts that the picturesque “leads a nineteenth-ce... more In his book American Picturesque, John Conron asserts that the picturesque “leads a nineteenth-century life very much distinguishable from its eighteenth century predecessors.” How was the nineteenth century life of the picturesque different as seen through such cottage scene pictures? What was uniquely picturesque about the Victorian cottage garden and its depiction by artists, especially those working with watercolors? How do the characters populating these pictures correspond with the favored picturesque figures found in Price? By addressing the taste for cottage garden pictures, and the work of artists like Helen Allingham and Thomas James Lloyd, one may perhaps uniquely access the Victorian life of the picturesque ideal.
The insertion of an undressing body into the company of dressed figures in paintings of quotidian... more The insertion of an undressing body into the company of dressed figures in paintings of quotidian scenes reveals particular apprehensions about eroticism, appropriateness, and “the other.” In such images, the idea of the other can function in regard to the dressed or undressed figure: who is the alter ego here? Although some recent work on Victorian painting has grappled with the period’s concerns about nudity, there remains a great deal to be said about undress: the grey area between the highly-‐‑charged realm of the body and the sphere of fashion. By exploring these ideas through Victorian paintings of paired dressed and undressing figures, the idea of “otherness” in Victorian art can make itself apparent in new ways, even implicating Queen Victoria as the highest expression of this emblematic phenomenon.
In 1890, Queen Victoria commissioned John Lockwood Kipling to create a sumptuous ‘Indian dining r... more In 1890, Queen Victoria commissioned John Lockwood Kipling to create a sumptuous ‘Indian dining room’ for Osborne House, her summer palace on the Isle of Wight. This room later came to be known as the Durbar Room, a great hall in which the queen displayed many of the gifts she received from Indian princes as Empress of India. As a strange amalgam of private and public space, dining room and museum, the Durbar Room was an indulgent project. Originally constructed by Sikh artisans led by Bhaj Ram Singh, the room was only opened to the public after the queen’s death. When Osborne House became a convalescent home for retired military officers, the room was maintained as a kind of museum where a selection of decadent Jubilee presents was displayed to an eager public. The Durbar Room is also interesting as a popular subject for picture postcards, and many views of the room have been printed and sent by post since the room opened to the public in 1904. The Durbar Room is a unique case stud...
Uploads