Fragmentary Forms: A New History of Collage

Arts & Photography

Gowrley, Freya

History & Criticism

Princeton University Press

Domestic Space in Britain, 1750-1840: Materiality, Sociability and Emotion (Material Culture of Art and Design)

Focusing on the design, decoration, and reception of a range of elite and middling class homes from 1750-1840, this book demonstrates that the material culture of domestic life was central to how the function of the home was experienced, expressed, and understood at a time when it took on unprecedented social and emotional significance. Examining craft production and collection, gift exchange and written description, inheritance and loss, it carefully unpacks the material processes that made the home a focus for contemporaries' social and emotional lives. The first book on its subject, Domestic Space in Britain, 1750-1840 employs methodologies from both art history and material culture studies to examine previously unpublished interiors, spaces, texts, images, and objects. Utilising extensive archival research; visual, material, and textual analysis; and histories of emotion, sociability, and materiality, it sheds light on the decoration and reception of a broad array of domestic spaces. In so doing, it writes a new history of late 18th- and early 19th-century domestic space, establishing the materiality of the home as a crucial site for identity formation, social interaction, and emotional expression.

History

Europe

Bloomsbury Visual Arts

Review\n"Gowrley’s intention to view the four houses and their owners, through an historical and contextual lens, is meticulously achieved in this richly fascinating study; the multi-layered, emotional sub-texts invested in material objects are sensitively extracted and interpreted, to display meaningful domestic spaces, three of which outlived their owners." ― Women's Studies Group 1558 – 1837\nBetween 1750 and 1840, the home took on unprecedented social and emotional significance. Focusing on the design, decoration, and reception of a range of elite and middling class homes from this period, Domestic Space in Britain, 1750-1840 demonstrates that the material culture of domestic life was central to how this function of the home was experienced, expressed, and understood at this time. Examining craft production and collection, gift exchange and written description, inheritance and loss, it carefully unpacks the material processes that made the home a focus for contemporaries' social and emotional lives.\nThe first book on its subject, Domestic Space in Britain, 1750-1840 employs methodologies from both art history and material culture studies to examine previously unpublished interiors, spaces, texts, images, and objects. Utilising extensive archival research; visual, material, and textual analysis; and histories of emotion, sociability, and materiality, it sheds light on the decoration and reception of a broad array of domestic spaces. In so doing, it writes a new history of late eighteenth- and early nineteenth-century domestic space, establishing the materiality of the home as a crucial site for identity formation, social interaction, and emotional expression.

<ul>
<li>There are no other books available on this important subject</li>
<li>This is the only book that looks closely not only at recent times but also at the early centuries of collage</li>
<li>Collage is popular, fascinating and historically revealing</li>
<li>Accompanies an exhibition at the National Gallery of Modern Art in Edinburgh from June to October 2019</li>
</ul>
Collage is one of the most popular and pervasive of all art-forms, yet this is the first historical survey book ever published on the subject. 
Featuring over 200 works, ranging from the 1500s to the present day, it offers an entirely new approach. Hitherto, collage has been presented as a twentieth-century phenomenon, linked in particular to Pablo Picasso and Cubism in the years just before the First World War. In Cut and Paste: 400 Years of Collage, we trace its origins back to books and prints of the 1500s, through to the boom in popularity of scrapbooks and do-it-yourself collage during the Victorian period, and then through Cubism, Futurism, Dada and Surrealism. Collage became the technique of choice in the 1960s and 1970s for anti-establishment protest, and in the present day is used by millions of us through digital devices. The definition of collage employed here is a broad one, encompassing cut-and-pasted paper, photography, patchwork, film and digital technology and ranging from work by professionals to unknown makers, amateurs and children.

Cut and Paste: 400 Years of Collage

Elliott, Patrick

Etgar, Yuval

National Galleries Of Scotland

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