Although numerous studies have explored the Edwardian period (1901–1910) as one of political and social change, this innovative book is the first to explore how art, design, and performance not only registered those changes but helped to precipitate them. While acknowledging familiar divisions between the highbrow world of aesthetic theory and the popular delights of the music hall, or between the neo-Baroque magnificence of central London and the slums of the East End, The Edwardian Sense also discusses the middlebrow culture that characterizes the anonymous edge of the city. Essays are divided into three sections under the broad headings of spectacle, setting, and place, which reflect the book’s focus on the visual, spatial, and geographic perspectives of the Edwardians themselves.
Distributed for the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art
Morna O’Neill is the Mellon Assistant Professor of 19th-Century European Art in the History of Art Department at Vanderbilt University. Michael Hatt is Professor of History of Art at the University of Warwick.
“A handsome volume . . . in which a group of scholars and experts sift through a remarkable array of evidence . . . [in] many fine essays.”
—Honoria St. Cyr, Open Letters Monthly
~Honoria St. Cyr
"The major cultural touchstones of the period are present here, interpreted in a manner that usefully acknowledges their significance while questioning their grip on people's, until now, limited perception of the period."—K. Rhodes, CHOICE
"The attraction of The Edwardian Sense . . . reaches beyond an audience with interests in early twentieth-century Britain, speaking more broadly to scholars of visual studies, film history, music history, history of design, and urban studies."—Amy M. Von Lintel, Journal of British Studies
~Amy M. Von Lintel
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