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"Painted Men in Britain, 1868?918 "
An original and overdue exploration of the representation of masculinity in British academic art in the late nineteenth and early twentieth centuries, Painted Men in Britain, 1868-1918 analyzes transgressions of gender and sexuality as represented in paintings by Leighton, Sargent, Tuke, and their contemporaries in the Royal Academy. This volume treats paintings as eloquent objects, no narratives of which are too elusive to be traced, and challenges conventional binaries of masculine versus feminine or heterosexual versus homosexual. Consulting not only the paintings themselves but also newspapers, journals, criticism, novels, and poetry of the day, Painted Men argues against the misconception of British academic art as merely reactionary and even blind to the dynamism of its own time. Instead, this art is shown to engage with broader social attitudes and contemporary sexual debates. As the book reveals the complexities of specific paintings, it illuminates different and competing attitudes toward masculinity and modernity in British art of the period.
"Painted Men in Britain, 1868?918 "
An original and overdue exploration of the representation of masculinity in British academic art in the late nineteenth and early twentieth centuries, Painted Men in Britain, 1868-1918 analyzes transgressions of gender and sexuality as represented in paintings by Leighton, Sargent, Tuke, and their contemporaries in the Royal Academy. This volume treats paintings as eloquent objects, no narratives of which are too elusive to be traced, and challenges conventional binaries of masculine versus feminine or heterosexual versus homosexual. Consulting not only the paintings themselves but also newspapers, journals, criticism, novels, and poetry of the day, Painted Men argues against the misconception of British academic art as merely reactionary and even blind to the dynamism of its own time. Instead, this art is shown to engage with broader social attitudes and contemporary sexual debates. As the book reveals the complexities of specific paintings, it illuminates different and competing attitudes toward masculinity and modernity in British art of the period.
Male Bodies Unmade
Male Bodies Unmade explores white men’s disunified physicality in modern and contemporary art while attending to erotic polysemy that questions the visual ethos of Occidental patriarchy. Art historian Jongwoo Jeremy Kim's approach is informed by his own status as an immigrant—a polyglot queen, drawn to extravagant fantasies of misbehaving bodies that are in truth foreign territories, colonies of misbelief. In six case studies focusing on configurations of irrational anatomy and horny self-extinction, this book celebrates the lessons and pleasures of disrupting art history’s hegemonically Western narratives.
Queer Difficulty in Art and Poetry
Augmenting recent developments in theories of gender and sexuality, this anthology marks a compelling new phase in queer scholarship. Navigating notions of silence, misunderstanding, pleasure, and even affects of phobia in artworks and texts, the essays in this volume propose new and surprising ways of understanding the difficulty—even failure—of the epistemology of the closet. By treating "queer" not as an identity but as an activity, this book represents a divergence from previous approaches associated with Lesbian and Gay Studies. The authors in this anthology refute the interpretive ease of binaries such as "out" versus "closeted" and "gay" versus "straight," and recognize a more opaque relationship of identity to pleasure. The essays range in focus from photography, painting, and film to poetry, Biblical texts, lesbian humor, and even botany. Evaluating the most recent critical theories and introducing them in close examinations of objects and texts, this book queers the study of verse and visual culture in new and exciting ways.
Pictures-within-Pictures in Nineteenth-Century Britain
Repainting the work of another into one?s own canvas is a deliberate and often highly fraught act of reuse. This book examines the creation, display, and reception of such images. Artists working in nineteenth-century London were in a peculiar position: based in an imperial metropole, yet undervalued by their competitors in continental Europe. Many claimed that Britain had yet to produce a viable national school of art. Using pictures-within-pictures, British painters challenged these claims and asserted their role in an ongoing visual tradition. By transforming pre-existing works of art, they also asserted their own painterly abilities. Recognizing these statements provided viewers with ple...
British Queer History
This collection of essays takes stock of the 'new British queer history'. It is intended both for scholars and students of British social and cultural history and of the history of sexuality and for a broader readership interested in queer issues. In offering a snapshot of the field, this volume demonstrates the richness and promise of one of the most vibrant areas of modern British history and the complexity and breadth of discussion, debate and approach. It showcases challenging think-pieces from leading luminaries alongside some of the most original and exciting research by established and emerging young scholars. The book provides a plethora of fresh perspectives and a wealth of new information, suggests enticing avenues for research and – in bringing the whole question of sexual identity to the forefront of debate – challenges us to rethink queer history's parameters.
Modern Art And The Object
This book is devoted to a reexamination of modern art from the point of view of the artist's approach to the object. It chronicles the complex, changing relationship between art and the object over the past hundred years; a fundamental organicism relationship as one thing grows out of another.
Crossing Borders in Victorian Travel
How did Victorian travellers define and challenge the notion of Empire? How did the multiple forms of Victorian travel literature, such as fiction, travel accounts, newspapers, and poetry, shape perceptions of imperial and national spaces, in the British context and beyond? This collection examines how, in the Victorian era, space and empire were shaped around the notion of boundaries, by travel narratives and practices, and from a variety of methodological and critical perspectives. From the travel writings of artists and polymaths such as Carmen Sylva and Richard Burton, to a reassessment of Rudyard Kipling’s, H. G. Wells’s and Julia Pardoe’s cross-cultural and cross-gender travels, this collection assesses a broad range of canonical and lesser-studied Victorian travel texts and genres, and evaluates the representation of empires, nations, and individual identity in travel accounts covering Europe, Asia, Africa and Britain.
The Culture of Male Beauty in Britain
Setting the Stage: The Foundations of Modern Male Beauty -- Physiognomists and Photographers -- Beauty Experts and Hairdressing Entrepreneurs -- Artists, Athletes, and Celebrities -- Poets, Soldiers, and Monuments -- Men on Display in the Twentieth and Twenty-First Centuries -- Brylcreem Men, Cinema Idols, and Uniforms -- Teenagers, Bodybuilders, and Models -- Youthful Rebels, Gender-Benders, and Gay Men -- Insecure Men, Metrosexuals, and Spornosexuals.
Living with the Royal Academy
Living with the Royal Academy directs attention to the textures of artists' relationships with the Royal Academy in late-eighteenth- and early-nineteenth-century Britain. This essay collection considers the Academy as a lived organism, one whose most effective role was as a reference point around which artists operated in their relationships with each other and with artistic practice itself.
