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"The aim of British Art Studies is to provide an innovative space for new research and scholarship of the highest quality on all aspects of British art, architecture and visual culture in their most diverse and international contexts. The journal will reflect the dynamic and broad ranging research cultures of the Paul Mellon Centre and the Yale Center for British Art, as well as the wider field of studies in British art and architecture today."--About page.

Art --- Architecture --- British Art. --- Architecture. --- Art. --- Great Britain.

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This volume examines the ways in which an intellectual vogue for a mythic China was a constituent element of British modernism. Traditionally defined as a decorative style that conjured a fanciful and idealized notion of China, chinoiserie was revived in in London's avant-garde circles, the Bloomsbury group, the Vorticists and others, who like their eighteenth-century forebears, turned to China as a cultural and aesthetic utopia. As part of Modernism's challenge to the 'universality' of so-called Western values and aesthetics, the turn to China would contribute much more than has been acknowledged to Modernist thinking. As these 10 new chapters demonstrate, China as an intellectual and aesthetic utopia dazzled intellectuals and aesthetes, at the same time the consumption of Chinese exoticism became commercialized. The essays show that from cutting-edge Modernist chic to mass culture and consumer products, the vogue for chinoiserie style and motifs permeated the art and design of the period. --Provided by publisher.

English literature --- Chinoiserie (Art) --- Art, British --- Modernism (Aesthetics) --- Aesthetics --- British art --- Anglo-Chinoise (Art) --- Art, Chinese --- Art, Modern --- Chinese influences. --- History and criticism. --- Influence

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"Pour la discipline de l'histoire de l'art, aujourd'hui dominée par la tradition anglo-saxonne, le sauvetage des universitaires étrangers menacés par la montée du national-socialisme dans les années 1930 est devenu le glorieux récit des origines d'une communauté scientifique internationale soudée. Cette histoire héroïque, qui attribue l'essor de l'histoire de l'art à la contribution des intellectuels réfugiés, demande pourtant à être nuancée, car elle occulte les tensions latentes entre l'idéal d'universalisme de la science et le rôle toujours actif des particularismes nationaux dans la formulation des savoirs. Ces tensions parcourent la vie et la carrière de l'historien d'art d'origine allemande Nikolaus Pevsner (1902-1983). Pevsner, émigrant en Grande-Bretagne en 1933, a dû construire les conditions de sa propre intégration et pour cela modifier le périmètre de l'histoire de l'art d'un point de vue social, institutionnel et thématique, à travers ses écrits et une intense activité de popularisation et de défense du patrimoine artistique britannique qu'il n'a cessé d'arpenter."--Page 4 of cover.

Art historians --- Art --- Historiens d'art --- Biography --- Attitudes --- Historiography --- Study and teaching --- Biographie --- Historiographie --- Etude et enseignement --- Pevsner, Nikolaus, --- Architectural historians --- Art, British --- History --- Great Britain --- Germany --- Relations --- Visual Arts - General --- Visual Arts --- Art, Architecture & Applied Arts --- British art --- Historians --- Pevsner, Nikolaus --- Pevsner, N. --- Architectural historians - Great Britain - Biography --- Art historians - Great Britain - Biography --- Art, British - Historiography - History - 20th century --- Pevsner, Nikolaus, - 1902-1983 --- Great Britain - Relations - Germany --- Germany - Relations - Great Britain --- particularismes nationaux --- art --- historiographie --- universalisme --- critique