Behind Closed Doors – At Home in Georgian England

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The Gentleman's Daughter: Women's Lives in Georgian England (link is external)(Yale University Press, 1998). Winner of the Whitfield prize, the Wolfson prize and the Longman-History Today prize. The Arts and Crafts movement was popular at the time of the Industrial Revolution and a reaction to the increase in factory-made goods: people wanted attractive, hand-made and original objects. For the first time, quite ordinary middling people saw their interiors as an expression of personality. Your character, your education, morals, even the state of your marriage could all be judged from look of your home. Would your front room stand up to scrutiny? Would your choices cut the mustard? Angela Lee is one of the organisers of a student-led Research Day sponsored by the Centre for Enlightenment Studies on Friday June 3 rd in the Anatomy Theatre and museum. After the Society of Arts came the Society of Artists, which held its first exhibition in 1760. Moser was one of only two women who appeared in this show of 130 works, which attracted around 1,000 visitors a day. Moser’s flower painting joined a portrait by Catherine Read. At the second annual exhibition in 1761, Moser was joined by a Mrs Cawardine and a Miss Charpin. In 1762, a Miss Grace, Miss Benwell and again Mrs Cawardine exhibited alongside Moser. In fact, Moser exhibited in nearly every show between 1760 and 1768 (11 works in all), then switched allegiance to the Royal Academy when it was founded. At just 24, she became the youngest founding Academician of the Royal Academy.

Claire Langhamer: The Meanings of Home in Post-war Britain, Journal of Contemporary History (2005), 40 (2), pp. 341-362. His and Hers: Gender, Consumption and Household Accounting in 18th century England’, in Lyndal Roper and Ruth Harris (eds), The Art of Survival: Essays in Honour of Olwen Hufton (link is external)(Past and Present, 2006)., pp. 12-38 A widow’s dream may not be as epic as a political speech (though most of these are mundane), but it captures one of the deepest intimacies of a culture, subtleties far more difficult to retrieve than legislation. Where is the minute book for marriage? The Hansard for family life? The recognisably modern middle class home was taking shape in the 18th Century when Britannia ruled the waves and became the world's leading manufacturing power. I was delighted to read such an extensive, engaged, careful and crafted review of my book. The piquant style gave me as much gratification as the content.

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Behind Closed Doors: At Home in Georgian England (link is external)(Yale University Press, 2009) A history book of the year in the Independent, Guardian, New York Times, Scottish Herald, History Today. Shortlisted for the Hessel-Tiltman History Prize. Academic scholarship can be a lonely business. There is just no substitute for years sat alone reading documents - a patient, solitary detective. But I am not a natural hermit, so collaborative working was a real pleasure for me. I leapt at the opportunity to communicate my research to an audience far beyond the academy - the intelligent listening public. Queen Mary is a rare and precious example of an institution that is both academically stimulating and collegial. My work has grown out of exchanges and shared intellectual endeavours with my colleagues in the Department of Comparative Literature and Culture, to whom I owe special gratitude.

requiring no formal training. Dubbed the Impressionists, they were rebelling against the rules and restraint of the art establishment. And they would inspire one female artist in particular, nestled in the idyllic Surrey countryside, to take a love of impressionism and push the boundaries of art' Founded in 1902, the British Academy is the UK’s national academy for the humanities and social sciences. It is a Fellowship of over 1400 of the leading minds in these subjects from the UK and overseas. Recognition of excellence

About Amanda Vickery

She argued that creating a beautiful garden was harder than creating a beautiful painting. Her gardens were designed to be seen from many different vistas. They changed over the course of the day. This is art wrested from nature. Art in 3D. far beyond gallery walls and onto a larger canvas.' Gertrude Jekyll is one of the most celebrated garden designers in history. None of which suggests anything approaching equality of the sexes among the Membership. In 1777 for instance, by my count of the exhibition catalogues, of 190 exhibitors 15 were women (8 per cent) and of 364 paintings 27 were by women (7 per cent). Yet for all their minority status it is still striking that the female artists are there, and seem to be making a professional living, supported to a degree by the RA.

Matthew, H. C. G.; Harrison, B., eds. (23 September 2004). "The Oxford Dictionary of National Biography". Oxford Dictionary of National Biography (onlineed.). Oxford: Oxford University Press. pp.ref:odnb/59566. doi: 10.1093/ref:odnb/59566 . Retrieved 24 January 2023. (Subscription or UK public library membership required.)New honorary doctors at the Faculty of Arts - Uppsala University, Sweden". www.uu.se . Retrieved 2 February 2016.

ed.] Gender, Taste, and Material Culture in Britain and North America, 1700-1830 (2006) ISBN 0300116594 But I'm not just interested in the interior lives of the rich. The Georgians came up with clever ideas for keeping up appearances on a middle income. Professor Matthew Hilton,Vice-Principal (Humanities and Social Sciences) at Queen Mary said: "I am delighted that both Galin and Amanda have been elected as Fellows of the British Academy in recognition of their excellent work in the humanities. The pandemic has shown us the importance of these disciplines in understanding and interpreting the world around us. I congratulate them both on this well-deserved achievement." About the British Academy Fellowship Sarah Pennell, 'Perfecting Practice? Women, Manuscript Recipes and Knowledge in Early Modern England', in Victoria E. Burke & Jonathan Gibson (eds), Early Modern Women's Manuscript Writing (2004) When historians of the future come to write about the historiographical preoccupations of 21st-century Britons, they surely will observe our growing obsession with consumer behaviour and material culture. One particular trend in the last 20 years has been the widening of methodologies employed by historians, from the traditional text-based approaches to archival research, to a wider conceptualisation of all forms of historical evidence as artefacts, including the written and printed word. This has allowed a broadening of the traditional purview of the historian, opening up new possibilities for studying all manner of material goods which previously had been considered more within the milieu of the archaeologist or art connoisseur than the historian. But we have needed pioneers, historians skilled in rendering the discrete and often daunting specialist languages of diverse fields such as art history, design history and archaeology into workable tools. Underpinning historians’ reticence about using material culture has also been a certain political attitude regarding the ‘proper’ nature of research. Is interpreting an artefact in a museum as worthy as squirreling away in an obscure archive? A similar doubt hangs over the increasing availability of high-quality online resources. The Old Bailey Online project allows keyword searches to be performed in a matter of seconds: but is it somehow ‘cheating’?

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The Beauty of Britain | Radio review". The Guardian. 6 October 2009. Archived from the original on 26 February 2023. Behind Closed Doors aimed to stimulate debate on physical and psychological interiors. Clearly different stories could be told about Georgian interiors using different sources or asking different questions. There is much work still appearing inspired in part by the AHRC Centre for the Study of the Domestic Interior, 2001–6 (a collaboration between Royal Holloway, the V&A and the Royal College of Art). See the special issue of the Journal of Design History (2007) on ‘Eighteenth-Century Interiors’ edited by Hannah Greig and Giorgio Riello; Karen Harvey on Masculinity at Home (forthcoming); Hannah Greig, The Fashionables: London’s Beau Monde in the Eighteenth Century (forthcoming) and for a later period, Jane Hamlett, Material Relations: Families and Middle-Class Domestic Interiors in England, 1850-1910. (5) The history of space, the history of objects, the history of interior design and the history of power and emotion are large specialisms engaging a new generation of researchers. I look forward to their findings. Notes