Dr Claudia Tobin is a Leverhulme Early Career Fellow in English at the University of Cambridge. She has held fellowships at the Paul Mellon Centre for British Art and the Huntington Library, California. She has published commissioned articles, scholarly book chapters, and exhibition catalogues on interdisciplinary topics including Virginia Woolf and still life, modernism and colour, and on Vanessa Bell's abstract painting as part of Tate's 'In Focus' series. She is General Editor, with Julian Bell, of Ways of Drawing, Thames & Hudson (2019).

Modernism and Still Life reminds us that Modernism not only introduced new ways of making art but also new ways of looking at art. Tobin is alert to the paradoxes inherent in the title 'still life' but also to the many ways in which stillness and movement enter into conversation in early modernism. This is a work of deft scholarship and considerable originality of thought. It makes a fresh intervention into a major subject and deepens understanding, offering another landmark in the historiography of Modernism.

• Introduction: ‘Nothing is statically at rest’: Cézanne and modern still life1. ‘Quivering yet still’: Virginia Woolf, Roger Fry, and the aesthetics of attention 2. Still Life in Motion3. ‘Past the gap where we cannot see’: Still life and the ‘numinous’ in British painting of the 1920s-30s4. Wallace Stevens, Charles Mauron and ‘inactive contemplation’Conclusion: ‘On the very brink of utterance’: Aldous Huxley, Mark Gertler, and Transfigured ThingsIndex

Dr Claudia Tobin is a Leverhulme Early Career Fellow in English at the University of Cambridge. She has held fellowships at the Paul Mellon Centre for British Art and the Huntington Library, California. She has published commissioned articles, scholarly book chapters, and exhibition catalogues on interdisciplinary topics including Virginia Woolf and still life, modernism and colour, and on Vanessa Bell's abstract painting as part of Tate's 'In Focus' series. She is General Editor, with Julian Bell, of Ways of Drawing, Thames & Hudson (2019).

Modernism and Still Life reminds us that Modernism not only introduced new ways of making art but also new ways of looking at art. Tobin is alert to the paradoxes inherent in the title 'still life' but also to the many ways in which stillness and movement enter into conversation in early modernism. This is a work of deft scholarship and considerable originality of thought. It makes a fresh intervention into a major subject and deepens understanding, offering another landmark in the historiography of Modernism.

• Introduction: ‘Nothing is statically at rest’: Cézanne and modern still life1. ‘Quivering yet still’: Virginia Woolf, Roger Fry, and the aesthetics of attention 2. Still Life in Motion3. ‘Past the gap where we cannot see’: Still life and the ‘numinous’ in British painting of the 1920s-30s4. Wallace Stevens, Charles Mauron and ‘inactive contemplation’Conclusion: ‘On the very brink of utterance’: Aldous Huxley, Mark Gertler, and Transfigured ThingsIndex

Dr Claudia Tobin is a Leverhulme Early Career Fellow in English at the University of Cambridge. She has held fellowships at the Paul Mellon Centre for British Art and the Huntington Library, California. She has published commissioned articles, scholarly book chapters, and exhibition catalogues on interdisciplinary topics including Virginia Woolf and still life, modernism and colour, and on Vanessa Bell's abstract painting as part of Tate's 'In Focus' series. She is General Editor, with Julian Bell, of Ways of Drawing, Thames & Hudson (2019).

Modernism and Still Life reminds us that Modernism not only introduced new ways of making art but also new ways of looking at art. Tobin is alert to the paradoxes inherent in the title 'still life' but also to the many ways in which stillness and movement enter into conversation in early modernism. This is a work of deft scholarship and considerable originality of thought. It makes a fresh intervention into a major subject and deepens understanding, offering another landmark in the historiography of Modernism.

• Introduction: ‘Nothing is statically at rest’: Cézanne and modern still life1. ‘Quivering yet still’: Virginia Woolf, Roger Fry, and the aesthetics of attention 2. Still Life in Motion3. ‘Past the gap where we cannot see’: Still life and the ‘numinous’ in British painting of the 1920s-30s4. Wallace Stevens, Charles Mauron and ‘inactive contemplation’Conclusion: ‘On the very brink of utterance’: Aldous Huxley, Mark Gertler, and Transfigured ThingsIndex