DOCSLIB.ORG

Newsletter No.5 Easter 2016

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Welcome to “The Friends” Newsletter No.5 Easter 2016 EVENTS SPONSORED BY THE FRIENDS OF ST MARTINS Throughout the summer Free Guided One Hour Tours of the Church take place at 10.30 am every Tuesday Morning. They commence on Tuesday 3rd May and the final tour of the year will be on Tuesday 27th September. Private tours can be arranged for groups at a convenient time to all for a donation to The Friends. To arrange this please contact Mike on 07554 070 205. Last minute cancellations. Should we have to cancel a tour due to unforeseen circumstances then notification will be published on this page of the website. 7pm Good Friday 25th March Stainer’s Crucifixion performed by choir drawn from all the local churches and beyond. 3pm Holy Saturday 26th March Easter Event A short talk on how Easter is revealed through pre-Raphaelite art and stained glass in St. Martin's Church, followed by wine and Simnel cake. Entrance £3 on the door, free to Friends. 9th July Dedication Service Day: 11.15 - 11.45 Talk about the opening of the church in 1863 by Mike Bortoft 12.00 Dedication Mass followed at 1.00 (approx) Lunch with a glass of wine or fruit juice. All invited Organ Recital dates: Each one will take place on a Friday evening at 7-00pm. Friday 6th May Edward Hewes Royal Academy of Music, London. Friday 3rd June Geoffrey Coffin Principal Pipe Organs York. Friday 1st July Colin Walsh Organist Laureate Lincoln Cathedral. Friday 15th July David Pipe. York Minster and Leeds Cathedral. Friday 2nd Sept Philip Moore Organist Emeritus York Minster, and President of The Royal College of Organists. Admission to each of these recitals will be £6. Refreshments will be served by the Friends of St Martin's at the end, when there will be an opportunity to meet each organist. Finally, an apology for the tardiness in publishing this newsletter due to an extended break in Australasia. Mike Bortoft 14th March 2016. Contents: Page 3: What’s in a Window? No 4 The Dorothea and Theophilus Window by Burne-Jones Page 8: Burne-Jones’ pursuit of love, an article by Fiona MacCarthy Page12: A Very Victorian Melodrama – The near death of The Prince of Wales 1872 and the how the celebration of his recovery is commemorated in St. Martin’s Church. Page 16: George Fredrick Bodley – The Early Years 2 What’s in a Window? No 4 The Dorothea and Theophilus Window by Burne-Jones Sir Edward Burne-Jones 1833 - 1898 (See the window on our website at: http://www.friendsofstmartins.co.uk/Window15.html) This striking window is located on the south aisle closest to the main entrance. The story of Dorothea and Theophilus is typical of the pre-Raphaelite’s attachment to heroic or tragic dramas: St. Theophilus the Lawyer, from the 4th century, was trying cases before the Roman Courts in Caesarea, a seaside town on the modern day Israeli coast. Caesarea was the seat of the Roman province of Judea and was a prominent town through the 5th century. Theophilus was part of the court's examination of St. Dorothy who was persecuted for not worshiping the Roman gods. While being examined, St. Dorothy told the court upon hearing her sentence was to be execution, "I thank thee, for this day shall I be with my spouse in paradise." Ridiculing the young woman Theophilus said to her, "Going to paradise, Dorothy? Well, send me some of its fruits and flowers; good bye!" Dorothy replied, "Gladly, Theophilus, will I do what you request." 3 St. Dorothy was lead out of the court to her execution - beheading by sword. Upon reaching the landing where she was to be executed, St. Dorothy knelt in prayer whereupon a child appeared, maybe four years in age. The child had a cloth in his hand with three different fruits and three magnificent roses. St. Dorothy instructed the child to take these fruits and roses to Theophilus and say to him "Here are the fruits and flowers from paradise which you asked for." St. Dorothy then laid her head down, and was martyred. Meanwhile Theophilus was joking with his colleagues and telling them of this woman Dorothy; his story was met with hearty laughter and applause for his cutting wit. During the commotion of the laughter a child walked among them and approached Theophilus. Opening up his cloth the child said, "These are the fruits and flowers you asked the holy Dorothy to send you. I have brought them at her request from the garden of her divine spouse." At once the child vanished. Stunned, and utterly shocked by the child's appearance and the gifts, Theophilus experienced a sudden conversion. His colleagues jested with him and tried to laugh him to his senses, but he could not shake off what had just happened. Attempting to reason with his companions Theophilus said "It is midwinter, there are no fruits or flowers like these in February. Our gardens are bare and our fruit trees leafless." Nothing his friends could say or do would shake Theophilus's new found faith, even though believing in such a faith had just led St. Dorothy to her death; a death Theophilus himself mocked. Theophilus himself was brought before the same court, but this time not as a lawyer, but as the accused. He stood before the judge charged with being a convert to the new religion Christianity - Theophilus gave witness to the court, whereupon he was summarily condemned to death - the death of a martyr. Burne-Jones, who received the princely sum of £12 for designing this window, gave Theophilus a rather androgynous face. He carries a large book of the law while looking somewhat out of sorts by his confrontation with the angel. The also androgynous angel bears a flame for the Holy Spirit on his head, and carries three apples – the fruits from the gardens of paradise. Dorothea (next page) holds a branch of an apple tree. 4 Maria Zambaco, a sketch for The Beguiling of Merlin by Burne-Jones The window portraying Dorothea is perhaps the most intriguing of the three inasmuch until recently we believed the model for Dorothea was Jane Morris, However, in a recent talk in the church given by Suzanne Fagence Cooper, the non-fiction writer who has written extensively on the Pre-Raphaelites and Victorian women, the speaker believed the model to be Maria Zambaco, 1843 – 1914. The window was installed in 1873, soon after Burne-Jones and Maria Zambaco finished a rather public and torrid affair. Despite this Burne-Jones continued to use her as a model for many of his later works. The following short biography of Zambaco helps fill in some of the background to this fascinating figure, and the article following this one “Burne-Jones’ Pursuit of Love by Fiona MacCarthy gives a more in-depth account of her affair with Burne-Jones. Maria Zambaco (born in London April 29th 1843, family name Cassavetti) was a first cousin of Constantine Ionides. She was a sculptor, but is better known as a model for other artists. Her features also appear repeatedly in the paintings of Rossetti's friend Edward Burne-Jones, whose affair with the tempestuous Zambaco in the late 1860s came close to wrecking his domestic and artistic existence. A painter and sculptor in her own right, she is more remembered for the numerous images created by Pre-Raphaelite painters. Born Marie Terpsithea Cassavetti to Greek nobility, wealth, and high position she was a noted beauty, known along with her cousins Aglaia Coronio and Marie Spartali as one of the "Three Graces", but was also apparently a rather rude and unpleasant girl who tended to scare away young men initially attracted by her looks. She was only 16 when Maria married a Dr. Zambaco and moved to Paris, but when the marriage flopped she returned home, dumped her two children onto her mother, and began to study painting. 5 She posed for such noted painters as Dante Gabriel Rossetti and James A. McNeill Whistler and in 1866 launched a turbulent personal and professional relationship with Edward Burne-Jones who rendered her image numerous times. Things came to a head in 1869 with Burne-Jones making a show of leaving his wife and Maria putting on a public suicide gesture via laudanum once she realized the leaving was only a show. In later years she studied painting at the Slade School and maintained a studio next to that of Burne- Jones who reportedly never spoke to her though he frequently used her as a seductress in his paintings. Trained by Rodin, Maria became a sculptor in Paris and at her death (14th June 1914) was buried in her family's plot under her maiden name. Others have likened Maria Zambaco’s face to stained glass designed by Burne-Jones. P. Neil Ralley, writing in April 7, 2002 on http://www.stainedglassphotography.com states that the similarities between the face and hands of Maria as portrayed in the Burne-Jones’ 1870 painting of her and the figure of St. Luke in Lanercost Priory (1877) (left) are enough to consider Maria as the source for Burne- Jones design. And then when you compare the three faces in the window at St. Martin’s … well, what do you think? 6 Maria Zambaco Jayne Morris What do you think? Email your opinion to [email protected]. If you are prepared to have your opinion published in the next newsletter, please indicate. Otherwise you vote will be published as part of the overall statistics.
Recommended publications
  • The Roots of Middle-Earth: William Morris's Influence Upon J. R. R. Tolkien

    The Roots of Middle-Earth: William Morris's Influence Upon J. R. R. Tolkien

    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2007 The Roots of Middle-Earth: William Morris's Influence upon J. R. R. Tolkien Kelvin Lee Massey University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Massey, Kelvin Lee, "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " PhD diss., University of Tennessee, 2007. https://trace.tennessee.edu/utk_graddiss/238 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled "The Roots of Middle-Earth: William Morris's Influence upon J. R. R. olkien.T " I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. David F. Goslee, Major Professor We have read this dissertation and recommend its acceptance: Thomas Heffernan, Michael Lofaro, Robert Bast Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Kelvin Lee Massey entitled “The Roots of Middle-earth: William Morris’s Influence upon J.
  • Review 2009/2010

    Review 2009/2010

    Review 2009/2010 Review 2009/10 Contents 3 Introduction from the Director 4 Extending and Broadening Audiences 8 Developing the Collection 12 Increasing Understanding of Portraiture and the Collection 16 Maximising Financial Resources 20 Improving Services 21 Developing Staff 22 Acquisitions 30 Financial Review 32 Supporters 35 Exhibitions and Displays Inside front cover Gallery Main Entrance Inside back cover Francis Alÿs: Fabiola display ‘The growing engagement with our programmes – whether new commissioned portraits or exhibitions, national and digital developments, or research and learning – gives me great confidence in the Gallery’s future development.’ Professor Sir David Cannadine, Chairman, Trustees of the National Portrait Gallery 3 Introduction Board of Trustees 1 April 2009 to 31 March 2010 from the Director Professor Sir David Cannadine, FBA, FRSL Chairman The Rt Hon. Baroness Whatever the continuing difficulties for the economy and Royall of Blaisdon (ex-officio) Lord President of the Council the country during the past year, the Gallery attracted a (until June 2009) growing audience, with record numbers to the BP Portrait Zeinab Badawi Award and over 250,000 visitors seeing the Taylor Wessing Professor Dame Carol Black Photographic Prize . All the year’s exhibitions – from Gay Icons (from March 2010) to Beatles to Bowie , The Indian Portrait , The Singh Twins Sir Nicholas Blake and Steve McQueen’s Queen and Country – successfully Dr Rosalind Blakesley demonstrated the connections between portraits and (from March 2010) individuals with fascinating and inspiring stories. Dr Augustus Casely-Hayford The Marchioness of Douro The launch of the National Portrait Gallery/BT Road to 2012 Dame Amelia Chilcott Fawcett, DBE was indicative of the Gallery’s determination to create new Deputy Chairman and Chair of the work and widen engagement with communities as part of Development Board the Cultural Olympiad.
  • Pre-Raphaelite Sisters

    Pre-Raphaelite Sisters

    Mariëlle Ekkelenkamp exhibition review of Pre-Raphaelite Sisters Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Mariëlle Ekkelenkamp, exhibition review of “Pre-Raphaelite Sisters ,” Nineteenth- Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.13. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Ekkelenkamp: Pre-Raphaelite Sisters Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Pre-Raphaelite Sisters National Portrait Gallery, London October 17, 2019–January 26, 2020 Catalogue: Jan Marsh and Peter Funnell, Pre-Raphaelite Sisters. London: National Portrait Gallery Publications, 2019. 207 pp.; 143 color illus.; bibliography; index. $45.58 (hardcover); $32.49 (paperback) ISBN: 9781855147270 ISBN: 1855147279 The first exhibition devoted exclusively to the contribution of women to the Pre-Raphaelite movement opened in the National Portrait Gallery in London in October. It sheds light on the role of twelve female models, muses, wives, poets, and artists active within the Pre- Raphaelite circle, which is revealed as much less of an exclusive “boys’ club.” The aim of the exhibition was to “redress the balance in showing just how engaged and central women were to the endeavor, as the subjects of the images themselves, but also in their production,” as stated on the back cover of the catalogue accompanying the exhibition. Although there have been previous exhibitions on the female artists associated with the movement, such as in Pre-Raphaelite Women Artists (Manchester City Art Galleries, Birmingham Museum and Art Gallery, Southampton City Art Gallery, 1997–98), the broader scope of this exhibition counts models and relatives among the significant players within art production and distribution.
  • Dante Gabriel Rossetti - Poems

    Dante Gabriel Rossetti - Poems

    Classic Poetry Series Dante Gabriel Rossetti - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Dante Gabriel Rossetti(12 May 1828 – 9 April 1882) Rossetti was born, the son of an Italian patriot and political refugee and an English mother, in England. He was raised in an environment of cultural and political activity that, it has been suggested, was of more import to his learning than his formal education. This latter was constituted by a general education at King's College from 1836 to 1841 and, following drawing lessons at a school in central London at the age of fourteen, some time as a student at the Royal Academy from 1845 onwards. Here he studied painting with William Hollman Hunt and John Everett Millais who, in 1848, would set up the Pre-Raphaelite Brotherhood with Rossetti, Rossetti's younger brother and three other students. The school's aspirations, in this its first incarnation, was to paint true to nature: a task pursued by way of minute attention to detail and the practice of painting out of doors. Rossetti's principal contribution to the Brotherhood was his insistence on linking poetry and painting, no doubt inspired in part by his earlier and avaricious readings of Keats, Shakespeare, Goethe, Sir Walter Scott, Byron, Edgar Allan Poe and, from 1847 onwards, the works of William Blake. 'The Germ' lasted however for only four issues, all published in 1850. In 1854 Rossetti met and gained an ally in the art critic John Ruskin and, two years later, meetings with Edward Burne-Jones and William Morris set a second phase of the Brotherhood into movement.
  • Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists

    Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists

    1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works.
  • William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe

    William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe

    Western Michigan University ScholarWorks at WMU Dissertations Graduate College 6-2005 William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe Andrea Yount Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/dissertations Part of the European History Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Yount, Andrea, "William Morris and the Society for the Protection of Ancient Buildings: Nineteenth and Twentieth Century Historic Preservation in Europe" (2005). Dissertations. 1079. https://scholarworks.wmich.edu/dissertations/1079 This Dissertation-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Dissertations by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. WILLIAM MORRIS AND THE SOCIETY FOR THE PROTECTION OF ANCIENT BUILDINGS: NINETEENTH AND TWENTIETH CENTURY IDSTORIC PRESERVATION IN EUROPE by Andrea Yount A Dissertation Submitted to the Faculty of The Graduate College in partial fulfillment of the requirements for the Degree of Doctor of Philosophy Department of History Dale P6rter, Adviser Western Michigan University Kalamazoo, Michigan June 2005 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3183594 Copyright 2005 by Yount, Andrea Elizabeth All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
  • Pre-Raphaelites and the Book

    Pre-Raphaelites and the Book

    Pre-Raphaelites and the Book February 17 – August 4, 2013 National Gallery of Art Pre-Raphaelites and the Book Many artists of the Pre-Raphaelite circle were deeply engaged with integrating word and image throughout their lives. John Everett Millais and Edward Burne-Jones were sought-after illustrators, while Dante Gabriel Rossetti devoted himself to poetry and the visual arts in equal measure. Intensely attuned to the visual and the liter- ary, William Morris became a highly regarded poet and, in the last decade of his life, founded the Kelmscott Press to print books “with the hope of producing some which would have a definite claim to beauty.” He designed all aspects of the books — from typefaces and ornamental elements to layouts, where he often incorporated wood- engraved illustrations contributed by Burne-Jones. The works on display here are drawn from the National Gallery of Art Library and from the Mark Samuels Lasner Collection, on loan to the University of Delaware Library. front cover: William Holman Hunt (1827 – 1910), proof print of illustration for “The Lady of Shalott” in Alfred Tennyson, Poems, London: Edward Moxon, 1857, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (9) back cover: Dante Gabriel Rossetti (1828 – 1882), proof print of illustration for “The Palace of Art” in Alfred Tennyson, Poems, London: Edward Moxon, 1857, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (10) inside front cover: John Everett Millais, proof print of illustration for “Irene” in Cornhill Magazine, 1862, wood engraving, Mark Samuels Lasner Collection, on loan to the University of Delaware Library (11) Origins of Pre-Raphaelitism 1 Carlo Lasinio (1759 – 1838), Pitture a Fresco del Campo Santo di Pisa, Florence: Presso Molini, Landi e Compagno, 1812, National Gallery of Art Library, A.W.
  • Western University London Canada Department of English English

    Western University London Canada Department of English English

    Western University London Canada Department of English English 4420F: The Pre-Raphaelites Unless otherwise indicated, all texts are in Rossetti’s Collected Poetry and Prose. Ed. Jerome McGann. Not all the poems listed under a given date will be covered in the same amount of detail, but they will be given prominence if they are selected by one or more members of the seminar as the focus of a short essay. Members of the seminar are encouraged to range widely in Rossetti’s work, both literary and artistic, and incorporate their findings and insights into our discussions. Owing to the overlaps between and among different strains of Rossetti’s work, the readings after the Fall Study Break provide considerable flexibility Seminar Schedule and Readings: September 10 Preamble September 17 Introduction Readings: Pugin, Collinson, Stephens, Ruskin (handouts) September 24 Introduction “Mary’s Girlhood (For a Picture)” October 1 Marian Paintings and Poems Readings: “Filii Filia,” “Mary’s Girlhood (For a Picture),” “For a Virgin and Child by Hans Memmelink,” “For a Marriage of St. Catherine by the Same,” “Ave,” “The Passover of the Holy Family (For a Drawing,” “Sudden Light,” “For ‘Our Lady of the Rocks’ by Leonardo da Vinci” October 8 Pre-Raphaelite Manifestos Readings: “Old and New Art,” ‘Hand and Soul” October 15 Early Poems Readings: “My Sister’s Sleep,” “The Blessed Damozel,” “The Burden of Nineveh,” “The Staff and Scrip,” “A Lsst Confession,” “The Bride’s Prelude” October 22 The “Fallen Woman” Readings: “The Honeysuckle,” “Found (For a Picture),” “Mary Magdalene at the Door of Simon the Pharisee (For a Drawing),” “Jenny” October 29 The Femme Fatale Readings: “The Card-Dealer,” “Troy Town,” “Body’s Beauty,” “Eden Bower,” “The Orchard Pit” (both prose and poem), “Pandora (For a Picture),” “Lilith.
  • The Journal of William Morris Studies

    The Journal of William Morris Studies

    The Journal of William Morris Studies volume xix number 4 summer 2012 Editorial Patrick O’Sullivan 3 Obituary: Peter Preston Peter Faulkner 4 A William Morris Letter Peter Faulkner 7 Morris and Devon Great Consols Florence S. Boos & Patrick O’Sullivan 11 Morris and Pre-Raphaelitism Peter Faulkner 40 ‘And my deeds shall be remembered, and my name that once was nought’: Regin’s Role in Sigurd the Volsung and the Fall of the Niblungs Kathleen Ullal 63 Morris’s Late Style and the Irreconcilabilities of Desire Ingrid Hanson 74 Reviews. Edited by Peter Faulkner 85 William Morris, The Wood Beyond the World, edited by Robert Boenig (Phillippa Bennett) 85 Joseph Phelan, The Music of Verse. Metrical Experiment in Nineteenth-Century Poetry (Peter Faulkner) 89 the journal of william morris studies .summer 2012 Martin Crick, The History of the William Morris Society (Martin Stott) 92 Fiona MacCarthy, The Last Pre-Raphaelite. Edward Burne-Jones and the Victo- rian Imagination (Peter Faulkner) 96 Susie Harries, Nikolaus Pevsner: The Life (John Purkis) 100 Paul Ward, Red Flag and Union Jack: Englishness, Patriotism and the British Left, 1881–1924 (Gabriel Schenk) 103 James C. Whorton, The Arsenic Century (Mike Foulkes & Patrick O’Sullivan) 105 Guidelines for Contributors 109 Notes on Contributors 111 ISSN: 1756-1353 Editor: Patrick O’Sullivan ([email protected]) Reviews Editor: Peter Faulkner ([email protected]) Designed by David Gorman ([email protected]) Printed by the Short Run Press, Exeter, UK (http://www.shortrunpress.co.uk/) All material printed (except where otherwise stated) copyright the William Mor- ris Society.
  • The Histories of Raphael Samuel a Portrait of a People’S Historian

    The Histories of Raphael Samuel a Portrait of a People’S Historian

    THE HISTORIES OF RAPHAEL SAMUEL A PORTRAIT OF A PEOPLE’S HISTORIAN THE HISTORIES OF RAPHAEL SAMUEL A PORTRAIT OF A PEOPLE’S HISTORIAN SOPHIE SCOTT-BROWN Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Creator: Scott-Brown, Sophie, author. Title: The histories of Raphael Samuel : a portrait of a people’s historian / Sophie Scott-Brown. ISBN: 9781760460365 (paperback) 9781760460372 (ebook) Series: ANU lives series in biography. Subjects: Samuel, Raphael. Historians--Great Britain--Biography. Marxian historiography. Historical materialism. Social history. Dewey Number: 907.202 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. The ANU.Lives Series in Biography is an initiative of the National Centre of Biography at The Australian National University, ncb.anu.edu.au. Cover design and layout by ANU Press. Portrait of Raphael Samuel by Lucinda Douglas- Menzies. This edition © 2017 ANU Press Contents Acknowledgements . vii Abbreviations . ix Introduction . 1 1 . The Ingrained Activist: Communism as a Way of Life, the Communist Party Historians’ Group and Oxford Student Politics . 17 2 . Reinventing the Organiser: Anti‑authoritarianism, Activist Politics and the First New Left . 55 3 . The Workshop Historian: Ruskin College and the Early Years of the History Workshop . 95 4 . The Secret Life of Headington Quarry: People’s History in the Field .
  • William Morris: the Modern Self, Art, and Politics

    William Morris: the Modern Self, Art, and Politics

    UC Berkeley UC Berkeley Previously Published Works Title William Morris: The Modern Self, Art, and Politics Permalink https://escholarship.org/uc/item/9hq08668 Journal History of European Ideas, 24 Author Bevir, Mark Publication Date 1998 Peer reviewed eScholarship.org Powered by the California Digital Library University of California WILLIAM MORRIS: THE MODERN SELF, ART, AND POLITICS By Mark Bevir Department of Politics University of Newcastle Newcastle upon Tyne NE1 7RU U.K. [Email: [email protected]] 2 ABSTRACT A concern to pin ideological labels on Morris has obscured the continuing importance of romanticism and Protestantism for his socialist politics. Romanticism led him to seek self-realisation in an art based on naturalness and harmony, and Protestantism led him to do so in the everyday worlds of work and domestic life. From Ruskin, he took a sociology linking the quality of art to the extent of such self- realisation in daily life. Even after he turned to Marxism, he still defined his socialist vision in terms of good art produced and enjoyed within daily life. Moreover, his over-riding concern to promote a new spirit of art, not his dislike of Hyndman, led him to a purist politics, that is, to look with suspicion on almost all forms of political action. 2 3 WILLIAM MORRIS: THE MODERN SELF, ART, AND POLITICS Keywords: Morris, Socialism, Art, Self, Romanticism, Protestantism I William Morris, 1834-98, is best known as a poet and designer who inspired the Arts and Crafts Movement. But he was also an important socialist and utopian theorist, arguably the most influential, and surely the most inspirational, writer on the left in Britain.
  • Speaking of Kisses in Paradise: Burne-Jones's Friendship with Swinburne John Christian

    Speaking of Kisses in Paradise: Burne-Jones's Friendship with Swinburne John Christian

    Speaking of Kisses in Paradise: Burne-Jones's Friendship with Swinburne John Christian 'Now we were four in company nor three'. I This, according to Georgiana Burnc­ janes, was her husband's assessment of the change that occurred when he, William Morris and Dante Gabriel Rosseni met Algernon Charles Swinburnc in the autumn of 1857. A closely-knit trio, bound [Qg~ther by the strongest ties of friendship and hero-worship, had suddenly opened its ranks to admit a fourth member, but without losing an iota of intimacy or coherence. The relationship of Burne-Jones to Rossetti and Morris has been exhaustively explored by historians of the Pre-Raphae1ite movement. Burne-Janes himself left abundant evidence that his meeting with Rossetti in January 1856 was the defining moment of his career. An astonishing fusion of complemc:nrary qualities, charisma and leadership on Rossetti's parr, devotional enthusiasm on his own, it released enough creative energy to sce him through a lifetime of inspired and prolific production. As for his relationship with Morris, it was one of the most fruitful in the history of decorative art, with enormous consequences for stained glass, tapestry, book design, and so on. By comparison, his association with Swinburne has been almost overlooked. Certain details arc familiar enough, but the subjcct in general has received very little notice. The purpose of this article is ro rouch on some of the more salient points. We might be more aware of the friendship if Swinburne had the appeal that both Rossetti and Morris possess for a modern audience.