Anne-Florence Gillard-Estrada – författare

Reflecting Walter Pater’s diverse engagements with literature, the visual arts, history, and philosophy, this collection of essays explores new interdisciplinary perspectives engaging readers and scholars alike to revisit methodologies, intertextualities, metaphysical positions, and stylistic features in the works of the Victorian essayist. A revised contextual portrait of Pater in Victorian culture questions representations of the detached aesthete. Current editorial and biographical projects show Pater as fully responsive to the emergence of modern consumer culture and the changes in readership in Britain and the United States. New critical views of rarely studied texts enhance the image of Pater as a cosmopolitan aesthete dialoguing with contemporary culture. Conceptual analysis of his texts brings new light to the aesthetic paradox embodied by Pater, between artistic detachment and immersion in the Heraclitean flux of life. Finally, aestheticism is redefined as proposing new artistic and linguistic synthesis by merging art forms and embracing interart poetics.

Beyond the Victorian/ Modernist Divide contributes to a new phase in the Victorian-modern debate of traditional periodization through the perspective lens of literature and the visual arts. Breaking away from conventionally fixed discourses and dichotomies, this book utilizes an interdisciplinary approach to examine the existence of overlaps and unexplored continuities between the Victorians, the post-Victorians and the modernists, including the fields of music, architecture, design, science, and social life. Furthermore, the book remaps the cultural history of two critical meta-narratives and their interdependence – the myth of "high modernism" and the myth of "Victorianism" – by building on recent scholarly work and addressing the question of the "turn of the century break theory" with a new set of arguments and contributions. The essays presented within acknowledge the existence of a break-theory in modernism, but question this theory by re-contextualising it while uncovering long-masked continuities between artists, genres and forms across the divide. The collection offers a new approach to modernism, Edwardianism, and Victorianism; utilizing the cross-fertilisation of interdisciplinary approaches, and by combining contributions that look forward from the Victorians with other contributions that look backward from the modernists. While literary modernism and its vexed relationships with the nineteenth century is a central subject of the book, further analysis includes artistic discourses and theories stemming from history, the visual arts, science, music and design. Each chapter offers a fresh interpretation of individual artists, navigating away from characteristic classifications of works, authors and cultural phenomena. Ultimately, the volume argues that though periodization and genre categories play substantial roles in this divide, it is also essential to be critically aware of the way cultural history has been, and continues to be, constructed.

This book addresses the artistic phenomenon of “Whistlerism," originated by the American painter James McNeill Whistler, and sheds light on this movement’s origins, its history and its wide-ranging impact on literature, poetry, art criticism, design and art philosophy.Whistler’s students and followers adopted the artist’s visual language and helped to spread his work and his artistic theories during the late 19th century and early 20th century. The enduring nature of Whistlerism and its influence internationally allow it to be seen as a major artistic trend in Europe and the United States. The notion of Whistlerism offers a new prism to explore the history of art at the turn of the century. The particularity of this artistic phenomenon is that it emerged during the artist’s lifetime and held sway over international contemporary art, literature and art criticism between 1878 – which marks the date of Ruskin's trial and the starting point of the myth of the artist, marked by the emergence of various adjectives, such as “Whistlerian” – and the beginnings of the Great War.This book presents the latest research on Whistlerism and introduces new perspectives on this subject throughout a range of chapters written by internationally recognised specialists of the painter. The topics deal not only with the visual arts and literature and art criticism but also with design, objects, scenography and the art of gardening.This collection is ideal for researchers in modern art, design and visual studies.

Reflecting Walter Pater’s diverse engagements with literature, the visual arts, history, and philosophy, this collection of essays explores new interdisciplinary perspectives engaging readers and scholars alike to revisit methodologies, intertextualities, metaphysical positions, and stylistic features in the works of the Victorian essayist. A revised contextual portrait of Pater in Victorian culture questions representations of the detached aesthete. Current editorial and biographical projects show Pater as fully responsive to the emergence of modern consumer culture and the changes in readership in Britain and the United States. New critical views of rarely studied texts enhance the image of Pater as a cosmopolitan aesthete dialoguing with contemporary culture. Conceptual analysis of his texts brings new light to the aesthetic paradox embodied by Pater, between artistic detachment and immersion in the Heraclitean flux of life. Finally, aestheticism is redefined as proposing new artistic and linguistic synthesis by merging art forms and embracing interart poetics.