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Edwardian Cosmopolitanism c.1901-1912

This 9200 chapter, in Michael Hatt and Morna O'Neill (eds.) The Edwardian Sense: Art, Design and Performance in Britain 1901-10 (2010. pp. 249-282) demonstrates the growing cosmopolitanism amongst British artists in the Edwardian era that cannot be explained by Anglo-French contacts alone, but which demands a broader understanding of modernism in these years. The research shows the significance that Anglo-German contacts, pan–European alliances and Imperial art networks held for artists in Britain. It outlines the ways in which British artists, through the International Lyceum Clubs and the International Society, exploited emerging transnational opportunities to advertise their innovative approaches, to market their work abroad, and to signal their commitment to experimental design aesthetics.

It was commissioned by the Yale Center for British Art’s Studies in British Art series by Yale University Press. It resulted from seminars at YCBA and the Victoria and Albert Museum, London, from 2009. The research project stimulated research into Edwardian art and culture producing this edited collection, the exhibition Edwardian Opulence. British art at the Dawn of the Twentieth Century (1912) http://britishart.yale.edu/exhibitions/edwardian-opulence-british-art-dawn-twentieth-century) and an associated conference ‘The End of an Era? New Perspectives on Edwardian Art (10-11 May 2013). http://britishart.yale.edu/sites/default/files/EdwardiansSymposiumProgram.pdf

For reviews:

Open Letters Monthly: http://www.openlettersmonthly.com/the-thin-clear-happy-call/

Reviews in History: http://www.history.ac.uk/reviews/review/1121

Oxford Art Journal: http://eprints.ulster.ac.uk/23852/1/OAJ_Walter_Crane_Review.pdf (page 3)

Stephenson’s research was disseminated in papers at the Midwest Conference on British Studies, Baldwin-Wallace College, Cleveland, 2010 (see: http://mwcbs.edublogs.org/page/2/), the Cleveland Museum of Art, 2010, and “Edwardianism’ before and after 1910’, British Association of Modernist Studies and Scottish Network of Modernist Studies, University of Glasgow, 2010, and ‘Edwardian Art and its Legacies’, co-convened by the author and Ysanne Holt, Tate Britain 2012, which generated a special issue of Visual Culture in Britain (vol. 14, no. 1, March 2013) edited with an introduction by Stephenson (pp.1-20). http://www.tandfonline.com/toc/rvcb20/14/1