Edward Juler is Lecturer at Newcastle University

"In Grown But Not Made: British Modernist Sculpture and the New Biology, Juler […] truly captures the exciting cultural crosspollination at work in 1930s Great Britain, connecting, for example, the extraordinarily talented creator and editor of the avant-garde journal Axis Myfanwy Piper, Neo-Constructivism, and the biologistic mindset cultivated in H. G. Wells and Julian Huxley’s collaboratively written book of 1938, The Science of Life—a nexus of forces which materialized in the beautiful garden suburb of London that is Hampstead […] Juler’s book is all about loving science, at least in the popular realm, and its coexistence and mixing with art during the 1930s. His is what Bloom called “a profound act of reading that is a kind of falling in love with a literary work."Charissa N. Terranova, Athenaeum Review, Issue 1 (Fall 2018)‘The sinuous organic forms in the sculpture of Barbara Hepworth, Henry Moore and others are often tied to vague conceptions of Biology; however, few have embarked on the subject with the level of scienti?c speci?city that Edward Juler does in his book Grown But Not Made […] Through the author’s con?dent explanations of the scienti?c factions at play – something of a rarity in art historical accounts of bio-centricity – he weaves a comprehensive picture of the biological foundations that underpin the conceptual frameworks of artists and critics in the interwar period.’Rachel Stratton, Sculpture Journal, Vol. 27, No. 3 (2018)

• Introduction1. Bridging the two cultures: relations between art and science in the 1930s2. Metamorphosis3. Organismal composition4. The morphology of art5. Worlds beneath the microscopeBibliographyIndex

Edward Juler is Lecturer at Newcastle University

"In Grown But Not Made: British Modernist Sculpture and the New Biology, Juler […] truly captures the exciting cultural crosspollination at work in 1930s Great Britain, connecting, for example, the extraordinarily talented creator and editor of the avant-garde journal Axis Myfanwy Piper, Neo-Constructivism, and the biologistic mindset cultivated in H. G. Wells and Julian Huxley’s collaboratively written book of 1938, The Science of Life—a nexus of forces which materialized in the beautiful garden suburb of London that is Hampstead […] Juler’s book is all about loving science, at least in the popular realm, and its coexistence and mixing with art during the 1930s. His is what Bloom called “a profound act of reading that is a kind of falling in love with a literary work."Charissa N. Terranova, Athenaeum Review, Issue 1 (Fall 2018)‘The sinuous organic forms in the sculpture of Barbara Hepworth, Henry Moore and others are often tied to vague conceptions of Biology; however, few have embarked on the subject with the level of scienti?c speci?city that Edward Juler does in his book Grown But Not Made […] Through the author’s con?dent explanations of the scienti?c factions at play – something of a rarity in art historical accounts of bio-centricity – he weaves a comprehensive picture of the biological foundations that underpin the conceptual frameworks of artists and critics in the interwar period.’Rachel Stratton, Sculpture Journal, Vol. 27, No. 3 (2018)

• Introduction1. Bridging the two cultures: relations between art and science in the 1930s2. Metamorphosis3. Organismal composition4. The morphology of art5. Worlds beneath the microscopeBibliographyIndex

Edward Juler is Lecturer at Newcastle University

"In Grown But Not Made: British Modernist Sculpture and the New Biology, Juler […] truly captures the exciting cultural crosspollination at work in 1930s Great Britain, connecting, for example, the extraordinarily talented creator and editor of the avant-garde journal Axis Myfanwy Piper, Neo-Constructivism, and the biologistic mindset cultivated in H. G. Wells and Julian Huxley’s collaboratively written book of 1938, The Science of Life—a nexus of forces which materialized in the beautiful garden suburb of London that is Hampstead […] Juler’s book is all about loving science, at least in the popular realm, and its coexistence and mixing with art during the 1930s. His is what Bloom called “a profound act of reading that is a kind of falling in love with a literary work."Charissa N. Terranova, Athenaeum Review, Issue 1 (Fall 2018)‘The sinuous organic forms in the sculpture of Barbara Hepworth, Henry Moore and others are often tied to vague conceptions of Biology; however, few have embarked on the subject with the level of scienti?c speci?city that Edward Juler does in his book Grown But Not Made […] Through the author’s con?dent explanations of the scienti?c factions at play – something of a rarity in art historical accounts of bio-centricity – he weaves a comprehensive picture of the biological foundations that underpin the conceptual frameworks of artists and critics in the interwar period.’Rachel Stratton, Sculpture Journal, Vol. 27, No. 3 (2018)

• Introduction1. Bridging the two cultures: relations between art and science in the 1930s2. Metamorphosis3. Organismal composition4. The morphology of art5. Worlds beneath the microscopeBibliographyIndex