Sex and the City: Rethinking the Victorians Series

From the first motion pictures onwards, the Victorian city has captured the imagination of filmmakers and audiences alike. From Sherlock Holmes, Jack the Ripper and Hammer Horror to the bustled heroines of period drama, ideas about sex and the city are never far beneath the surface of London’s panorama on screen. Join Dr Jenny Graham, of PUNCS, to look, through film and with guest speakers, at the lives of men and women in the period.

Our first guest speaker is the distinguished historian of gender and sexuality, Dr Lesley Hall, Wellcome Library Research Fellow, who will be talking about

Passions between Women in Victorian Britain

26 April 2016, 19.00 – 20.30

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G. Henry Evison, The Windsor Magazine, vol.28 (June to November 1908)p.119. Image courtesy of PUNCS.

 

Join Dr Hall as she explores the fascinating subject of romantic friendship between women in the Victorian period. Were passions between women deemed appropriate only in adolescence, to be superseded by marriage, or were things rather different in reality?

Dr Hall’s talk will examine the stories of women who loved and were loved by other women in 19th-century Britain, which reveal a more varied account than the stereotypes allow.

 

Venue: Theatre 2, Roland Levinsky Building

Tickets info: £6.60 / £4.50/ free to Peninsula Arts Friends

Ticket discounts available via Artory App

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Claude Shepperson, illustration to Frances Rivers, ‘A Time of Roses’, The Windsor Magazine (1908), p.343. Image courtesy of PUNCS.
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Research Seminar on 30 September 2015

PUNCS lectures and talks: Semester 1, 2015

We are delighted to begin the semester with two invited speakers from the University of the West of England:

The talks take place in Babbage Building on the main campus, 3-5 pm in BGB 417

Marie Mulvey-Roberts, University of the West of England

“Death by Orgasm: Masturbation, Sexual Surgery and Dracula”

And,

Steve Poole, University of the West of England

‘Parallel lives and divergent reputations: John Thelwall, John Gale Jones and the “enormous condescension of posterity”.’

Victorian Attitudes and Modernist Offences: Egon Schiele and the Female Nude

Is it not a crying shame that pictures are flaunted before the public from the pencil of male and female artists which must lead many visitors to the gallery to turn from them in disgust and cause only timid half glances to be cast at the paintings hanging close by, however excellent they may be, lest it should be supposed the spectator is looking at that which revolts his or her sense of decency?

‘A Woman’s Plea’, The Times, 20 May 1885, quoted in Alison Smith, The Victorian Nude: Sexuality, Morality and Art,  Manchester University Press, 1996, p.1.

So wrote a ‘British Matron’, in a letter in The Times published 20 May 1885, and published at the beginning of Alison Smith’s The Victorian Nude: Sexuality, Morality and Art (1996). Many scholars have been interested in the Victorian response to the naked female form in art: whether it be the later critical response to the nudes of the Regency-era William Etty in England, or Anthony Comstock and the ‘New York Society for the Suppression of Vice’ having an art dealer arrested in 1887 for the sale of photographs reproducing French paintings of female nudes (see Nicola Beisel, ‘Morals versus Art: Censorship, The Politics of Interpretation, and the Victorian Nude’), or the association between ‘nakedness and the colonial imagination’. In 2001 Tate Britain presented an exhibition entitled ‘Exposed: The Victorian Nude’, with an accompanying catalogue by Alison Smith.

… But what would that British Matron have made of the portfolio of prints which was associated with the arrest of Karl Grunwald, an art dealer and friend of the Austrian Expressionist artist Egon Schiele (1890 – 1918), in 1923?

Dr Gemma Blackshaw,  Associate Professor of Art History at Plymouth University and one of our PUNCS founder members, is delivering a talk on the images of nudes created at the end of our period, by Schiele, at the Freud Museum, London (11 November 2014).

Gemma Blackshaw’s research on Schiele’s work in the context of debates on art and pornography – in which she reclaims the artist’s graphic work for pornography rather than the nude of high art – will be published later this month in the catalogue accompanying the exhibition Egon Schiele: The Radical Nude at the Courtauld Gallery London (23 October  – 18 January 2015). Schiele gained public notoriety for ‘immoral’ work, in the small Austrian towns where he settled in poverty in 1911-1912, after making his reputation as a painter in Vienna.

The research contributing to the exhibition has also been covered in the national press: Rachel Campbell-Johnston’s essay, ‘The naked truth: when does art become pornography?’ (The Times, 20 September 2014) notes scandals involving the representation of the female nude that fall within the period of interest to PUNCS: the furore around Edouard Manet’s painting Olympia (1863): ‘startling’ for a writer in the British Pall Mall Gazette in 1872; a ‘coarse and rudimentary subject’ for another writer in the British press the year after his death in 1883, and acknowledged by 1895 as a ‘masterpiece’ in the Art Journal … and the suffragette Mary Richardson’s attack on Velazquez’s Rokeby Venus (‘caring more for Justice than for Art’  as she later told a Judge) in the National Gallery in London in March 1914.


Links

http://www.freud.org.uk/events/75657/the-modernist-offence-egon-schiele-and
-the-naked-female-body-/
http://www.courtauld.ac.uk/gallery/exhibitions/2014/Schiele/index.shtml

Notes

‘The National Gallery Outrage’, The Times, 11 March 1914

C.G. Trumbull, Anthony Comstock, Fighter: Some Impressions of a Lifetime Adventure in Conflict with the Powers of Evil (1913)

https://archive.org/details/anthonycomstock00trumgoog

C. Lewis Hind, ‘Velasquez in Yorkshire’, Pall Mall Gazette, October 1905

http://www.nationalgallery.org.uk/paintings/diego-velazquez-the-toilet-of-venus-the-rokeby-venus

Camille Mauclair, ‘Edouard Manet’, Art Journal, September 1895, p.278.

Arthur Baigneres, ‘Manet and the French Impressionist School’, The National Review, 3: 13, March 1884, p.39

D.M. Bennett, Anthony Comstock: his career of cruelty and crime; a chapter from The champions of the Church (1878)

‘The Society of French Artists’, Pall Mall Gazette, 8 March 1872.Sarah Burnage, Mark Hallet and Laura Turner, William Etty: Art and Controversy (2011)
Nicola Beisel, ‘Morals Versus Art: Censorship, The Politics of Interpretation, and the Victorian Nude’, American Sociological Review 58: 2 (April 1993), pp.145-16
Philippa Levine, ‘Nakedness and the Colonial Imagination’, Victorian Studies 50: 2 (winter 2008), pp.189-219