Monthly Archives: July 2012

Parade’s End Conference – Registration

Registration is now open for ‘Ford Madox Ford’s Parade’s End: Modernism and the First World War’, 27-29th September 2012 at the Institute of English Studies, University of London.

Highlights of the conference programme include:

 – Keynote address from Adam Piette (University of Sheffield), author of Imagination at War: British Fiction and Poetry 1939-1945 (1995) and The Literary Cold War, 1945 to Vietnam (2009).
 –  Q&A session with special guest Susanna White, BAFTA-award winning director of the forthcoming BBC/HBO adaptation of Parade’s End, scripted by Sir Tom Stoppard and starring Benedict Cumberbatch, Rebecca Hall, Rupert Everett and Miranda Richardson.
 – Launch of the new critical editions of the Parade’s End tetralogy, published by Carcanet Press, and a round-table discussion with the editors of the four volumes: Max Saunders, Joseph Wiesenfarth, Sara Haslam and Paul Skinner.
Film screening of the 1964 BBC adaptation of Parade’s End, starring Judi Dench.
 – Over 30 speakers from the UK, Australia, Belgium, France, the Netherlands and the USA.

For more details  please visit the conference website.

Rob Hawkes and Ashley Chantler (Conference Organisers)

Call for Papers: Beyond the Garden Party: Re-thinking Edwardian Culture

Spencer Gore, ‘The Garden Path’, c.1910

CALL FOR PAPERS: Beyond the Garden Party: Re-thinking Edwardian Culture

It must have seemed like a long garden party on a golden afternoon – to those who were inside the garden. But a great deal that was important was going on outside the garden: it was out there that the twentieth-century world was being made. Nostalgia is a pleasing emotion, but it is also a simplifying one; to think of Edwardian England as a peaceful, opulent world before the flood is to misread the age and to misunderstand the changes that were dramatized by the First World War (Samuel Hynes, The Edwardian Turn of Mind).

More than forty years since Samuel Hynes wrote these words, many accounts and representations of Edwardian England still invoke the image of the garden party. Building on recent critical reappraisals, such as The Edwardian Sense (Yale 2010), and coinciding with the major Edwardian exhibition at the Yale Center for British Art, this interdisciplinary conference seeks to examine this notion, and to explore the alternatives. Was there such a thing as a distinct Edwardian culture; if so, what were the forces behind it?

We invite papers on any aspect of British culture between the years 1895-1914 (the ‘long Edwardian’ era). Topics may include, but are not limited to, the following:

• Edwardian Media: art, communication technologies, design, fashion, fiction, film, music, poetry, religion, theatre, and other forms of ‘high’ and ‘popular’ culture.
• Categorising the Edwardians: Victorianism/Edwardianism/Modernism/pre- and post-War/fin de siècle/the turn of the century. How useful is the term ‘Edwardian’?
• Revisionary Edwardians: challenging conventional notions of Edwardian writers, artists, and thinkers; fresh perspectives on famous Edwardians, and critical recoveries of neglected figures.
• Eclectic Edwardians: the catholicity of Edwardian taste and cultural products, the genre-hopping of Edwardian writers and artists, and Edwardian interdisciplinarity.
• Edwardian Afterlives: Edwardian nostalgia, Edwardian cultural afterlives, twenty-first-century visions of the Edwardians.
• The past and future of Edwardian studies; teaching the Edwardians.

‘Beyond the Garden Party: Re-thinking Edwardian Culture’ is the inaugural conference of the Edwardian Culture Network. The two-day conference will be joint-hosted by the Universities of York and Durham on 12th-13th April 2013. Speakers will be asked to state in which city they would prefer to give their paper.

Please send 300 word abstracts to by no later than Monday 3rd December 2012.

London 1908

For better or worse, the 2012 Olympics are almost upon us. Those Edwardian scholars who are not glued to the feats of present-day runners, jumpers and freewheeling divers may be tempted to turn their minds back to London’s first bite of the Olympic apple in 1908. A selection of images from the 1908 games – in which just thirty-seven women took part – can be found on the official Olympic website.

Sambourne and Edwardian Street Style

‘Cromwell Road, 1906′(detail) by Edward Linley Sambourne

As reported by The Guardian earlier this week, Kensington and Chelsea Libraries have discovered a new set of photographs by the political cartoonist Edward Linley Sambourne, documenting Edwardian street style. These works are held, along with along archival material relating to Linley Sambourne, at Kensington Central Library. A selection of the photographs can currently be seen at their blog. Recommended for fans of Edwardian photography, fashion, and literary women.

Devils and Dolls

‘Robin’ by Augustus John, c.1912

The following call for papers may be of interest to Edwardian scholars:

Devils and Dolls: Dichotomous Depictions of ‘The Child’

Conference details:
Wednesday 27 March 2013
University of Bristol, Graduate School of Arts and Humanities

Confirmed plenary speaker:
Professor George Rousseau, (Magdalen College, University of Oxford) Co-Director of the Oxford University Centre for the History of Childhood.

Dr Anna Green (University of East Anglia and Norwich Castle Museum & Art Gallery)

An inter-disciplinary conference open to both postgraduates and academics at any stage of their career, seeking to examine the contrasting images and representations of children as angels or devils, innocent or evil, light or dark in fiction and culture and the field of Humanities. Why are children offered little dimension in representations? What is the significance of representing the child either as innocent or evil – to both the originating discourse and in a wider context? Is such polarization detrimental to our understanding of what it means to be a child and how we respond to real children? Continue reading

Your (Edwardian) Paintings

‘Girl and Goats’ by David Waterson (1900)

The BBC Your Paintings project (in partnership with the Public Catalogue Foundation) continues to expand, with over 145, 000 paintings in public ownership now catalogued online (the goal is around 200, 000). This makes it a vital resource for anyone interested in Edwardian art, examples of which are not always on display in British galleries and museums.

Recent additions include the Ashmolean collection, the National Portrait Gallery, the National Museum of Wales and the Royal Academy of Arts.

Art and Death: Call for Papers

Henry Lamb ‘Death of a Peasant’ (1911)

Not an exclusively Edwardian subject, of course, but Edwardian scholars may nevertheless be interested in the following:

A series of three workshops will be held at the Courtauld Institute of Art in 2012-2013 to explore the inter-relationship between art and death. These workshops have arisen from an informal group of doctoral students with shared interests in funerary monuments. The workshops will be structured to recognize that the certainty of death is accompanied by the foreknowledge and uncertainty of what may come after, and that visual representations of these phases have varied over time and between countries. The first workshop will focus on the images and objects related to the impact that the certainty of death has on individuals and the community; the second on art in the context of dying, death and burial; and the final one on representations of the perceived fate of body and soul after death, as well as the continuation of a relationship (if only in memory) between the living and the dead.

Subjects for the workshops could include, but are not limited to: Continue reading

The Art Press in the Twentieth Century

Call for Papers: The Art Press in the Twentieth Century

A one-day conference on the mediation of art history, criticism and the art market in magazines and journals organised by The Burlington Magazine and Sotheby’s Institute of Art on 1st February 2013

The Burlington Magazine is one of Britain’s oldest monthly art-historical publications. Founded in 1903 by a group of art writers that included Robert Dell, Roger Fry, Bernard Berenson and Herbert Horne, its aim was to cover all aspects of the fine and decorative arts, to combine scholarship with critical insight and to treat the art of the present with the same seriousness as the art of the past.

Sotheby’s Institute of Art in London was founded by Sotheby’s auction house in 1969. It is now an independent not-for-profit institute and offers six MA programmes across a range of visual art disciplines and art business, together with semester and summer courses. These are validated by the University of Manchester with whom there is also a joint PhD programme. Research and teaching at Sotheby’s Institute focuses on the art work and its context within the framework of the art world and market.

The aim of the joint conference is to explore how the international press, via art-historical writing and criticism in magazines and journals, has intersected with the reception and understanding of art, collecting, the art market and the teaching of art history. Continue reading