Baroque between the Wars: Alternative Style in the Arts, 1918-1939

Baroque between the Wars is a fascinating account of the arts in the twenties and thirties. We often think of this time as being dominated by modernism, yet the period saw a dialogue between modern baroque - eclectic, playful, camp, open to influence from popular culture but connected with the past, and unafraid of the grotesque or surreal - and modernism, which was theory-driven, didactic, exclusive, and essentially neo-classical.Jane Stevenson argues that both baroque and classical forms were equally valid responses to the challenge of modernity. Setting painting and literature in the context of 'minor arts' such as interior design, photography, fashion, ballet, and flower arranging, and by highlighting the social context and sexual politics of creative production, Stevenson offers a new and exciting interpretation of one of the most renowned artistic movements of the 20th century. Accessibly written and generously illustrated, the volume focuses on artists, artefacts, clients, places, and publicists to demonstrate how baroque offered a whole new way of being modern. The modern baroque was an active subversion of the tenets of modernism, practised by the people that modernism habitually excluded. Stevenson brings those excluded groups into the centrefold of the modern baroque movement in a rich history of the alternative style which has influenced much of the art, architecture, performance and literature of today.

Table of Contents:
The In Between Time I: Society 1: Climbing 2: Hiding in Plain Sight 3: Sitwell Style II: The City 4: Modern Times 5: Streams Of Consciousness 6: Machines To Live In III: Rooms 7: Outdoor Rooms 8: Chinese Wallpaper 9: Whiteness 10: White and Gold 11: Rococo Arcadia IV: Uncanonical Arts 12: Silver Paper 13: Self Fashioning 14: Masks 15: Four Dozen White Lilies 16: Flowers in the Abstract 17: The Ghost of a Rose Epilogue

About the Author :
Jane Stevenson studied at the University of Cambridge, and subsequently taught at the Universities of Sheffield and Warwick before moving to Aberdeen, where she was Regius Professor of Humanity. Jane Stevenson is now Senior Research Fellow at Campion Hall at the University of Oxford. Her works include studies of women's writing in Latin, early modern women poets, a biography of the painter Edward Burra, and six novels.

Review :
Review from previous edition Baroque Between the Wars ... is a witty and elegant account of an alternative style in the arts ... this wide-ranging and hugely entertaining book perfectly combines aesthetic and social history. The patterns that [Stevenson] contrived to weave out of subjects as widely dispersed as the Sitwells, Arthur Machen, Ronald Firbank and Coco Chanel were endlessly fascinating. A beautifully written account of modern baroque in its many guises ... it is scholarly, diverting and fascinating, all at once: a bracing draught that genuinely fills a huge void, an essential read to understand a period in all its diversity. Learned and thought-provoking ... Stevenson has encyclopaedic knowledge of the period and the style, in all its many forms. The book covers a glorious array of cultural activities ... Stevenson writes with gentle humour and a keen sense of the absurd. Baroque Between the Wars draws its strength from Stevenson's omnivorous sourcing of material and her intellectual curiosity. exceptional A fascinating, thought-provoking account of the arts in the 1920s and 1930s One of this book's greatest strengths is the author's original research across several disciplines ... [Stevenson] writes in clear, insightful prose ... This is essential reading that will, inter alia, explain you to yourself. The book is welcome for its extensive examination of one of the most interesting moments in art and life of recent times. extraordinary ... Stevenson writes with admirable clarity and wit The first thing to be said about this wonderfully funny, provocative, and endlessly fascinating book is that it covers a lot of ground. It presents a very large range of creative production through a series of short and eminently readable chapters. Broad in scope, yet full of telling detail, this important study of the Baroque sensibility brilliantly illuminates a too-long-neglected era of artistic and cultural activity. Stevenson's achievement is baroque in its richness and variety. Spanning the art forms, and bringing to new prominence the period's decorative taste-makers from Cecil Beaton to Elsa Schiaparelli, she turns a serious eye on the meanings of masquerade. The emphasis on art markets and circles of patronage contributes a wealth of new material to this thick-woven tapestry of ideas. With the scholarship, humanity, and wit that made her Edward Burra biography so outstanding, Jane Stevenson presents a shimmering bouquet of connected essays, animating the ghosts of early twentieth-century fashion and frolic, that propose a serious alternative to modernism.