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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. Published to accompany an exhibition at the National
Gallery of Scotland, June-October 2019.
Between 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. 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unpublished interiors, spaces, texts, images, and objects.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.
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