scholarly journals The ‘architecture of colour-form’: Adrian Stokes and Venice

2004 ◽  
Vol 8 (2) ◽  
pp. 159-169
Author(s):  
Stephen Kite
Keyword(s):  

Adrian Stokes (1902–72) — aesthete, critic, painter and poet — is linked to John Ruskin and Walter Pater as one of the greatest aesthetic thinkers in this English empirical tradition. This paper explores his insights on the reciprocity of colour and form in relation to architecture.

Author(s):  
Hilary Fraser

This essay explores the creative dialogue between practices of writing, reading, and viewing in the Victorian period evident from the proliferation of new or greatly enhanced intermedial forms: illustrated books and magazines; narrative and genre paintings; pictures with accompanying texts; the portrait as an experimental literary form; fiction about art; ekphrastic poetry; and the new genre of art literature. It asks, what were the historical conditions for this extraordinary syncopation of word and image, writing and seeing? How do we understand the dynamically transformative contexts (a vastly expanding periodical press, new and diversified exhibition cultures, widening opportunities for travel) within which such visual/textual hybrids and doublings were produced and consumed, and in what ways were they constitutive of modernity? The chapter reflects upon ‘visuality’ as a nineteenth-century coinage, and the concept of ‘translation’ between media, discussing work by Frederic Leighton, Dante Gabriel Rossetti, John Ruskin, Walter Pater, and Oscar Wilde.


Author(s):  
Ruth Livesey

This chapter traces this complex history of aestheticism, socialist aesthetics, and early modernism through a study of the development of William Morris's works in the later nineteenth century. Placing Morris's aesthetic development in the context of the writings of John Ruskin and Walter Pater, the discussion explore Morris's resistance to an emerging aesthetic that emphasized individual taste and consumption, rather than communal production. In his socialist essays, Signs of Change (1888) Morris developed an aesthetic continuum that enabled him to collapse the distinction between art and bodily labour and imagine a future of communal artistic production after the revolution. Both the radical nature of Morris's aesthetic and its preoccupation with productive masculinity are emphasized by contrasting his work to Wilde's essay ‘The Soul of Man under Socialism’ (1891).


2003 ◽  
Vol 35 (1) ◽  
pp. 147
Author(s):  
Laurel Brake ◽  
Kenneth Daley
Keyword(s):  

Author(s):  
Fraser Riddell

Oscar Wilde was an Irish playwright, essayist, author and poet, and one of Victorian England’s chief proponents of Aestheticism. His works are often characterised by the use of humorous paradox, which questions Victorian certainties of truth, value and morality. Wilde is best known today for his play The Importance of Being Earnest (1894), his novel The Picture of Dorian Gray (1890, revised 1891) and his imprisonment in 1895 on grounds of ‘gross indecency’ after a series of scandalous trials. Individualism is central to Wilde’s philosophy, and many of his works challenge or ironise social conventions that seek to limit autonomy of personal expression. Wilde prefigures the concerns of much twentieth-century Modernist literature in his critique of Realism, his scepticism regarding authentic selfhood and his often absurd dramatic mode. Oscar Wilde was born in Dublin on 16 October 1854, the son of upper-middle class Anglo-Irish intellectuals. His earliest education was at the staunchly Protestant Portora Royal School in Enniskillen, before he progressed to Trinity College, Dublin in 1871. Wilde excelled as a student of Greek, and in 1874 was awarded a scholarship to read Classics at Magdalen College, Oxford. Here he was influenced by aesthetic theorists Walter Pater and John Ruskin. Having graduated with a double first, Wilde settled in London in 1879, where he soon set about cultivating an image as an aesthete and dandy.


Author(s):  
Jonah Siegel

Although the field of aesthetics was consolidated in the nineteenth century, its study has been shaped by two contradictory tendencies: (1) the insistence that the aesthetic realm needs to be autonomous, independent of the world of common experience; (2) the ethical or political insistence that autonomy is impossible. Starting from this characteristic antinomy, and tracing it back to early theoretical formulations in Kant and Schiller, this chapter illuminates the ways in which the constant pull between form and reality, or between art and experience, was a fundamental characteristic of aesthetics in the Victorian period. The writings of Matthew Arnold, Elizabeth Barrett Browning, Robert Browning, George Eliot, Walter Pater, William Morris, John Ruskin, and others show the challenges of negotiating a concept that at times seems the only thing reconciling one to the world and at other times seems to be pulling one away to an impossible realm outside human existence.


2002 ◽  
Vol 52 (2) ◽  
pp. 169-174
Author(s):  
S. Evangelista
Keyword(s):  

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