1. Royal Conservatoire of Scotland Period styles course Nineteenth century styles: coal, iron, and capitalism

2. Iron: Crystal Palace 1851 Eiffel Tower 1889

5. http://www.vam.ac.uk/page/g/great-exhibition/

10. 'In one of these courts there stands directly at the entrance, at the end of the covered passage, a privy without a door, so dirty that the inhabitants can pass into and out of the court only by passing through foul pools of stagnant urine and excrement.’ Friedrich Engels on the slums of Manchester

11. Henri de Saint-Simon, from Opinions littéraires, philosophiques et industrielles (1825) ‘Politics should now be the science of procuring for the greatest number the greatest possible sum of material goods and moral pleasures.’ Saint-Simon isolates three progressive elements who can do this : the scientist, the industrialist and the artist. 1848 the year of revolutions Karl Marx and Friedrich Engels Manifesto of the Communist Party 1848 ‘The bourgeoisie cannot exist without constantly revolutionising the instruments of production, and thereby the relations of production, and with them the whole relations of society… Constant revolution of production, uninterrupted disturbance of all social conditions, everlasting uncertainty and agitation distinguish the bourgeois era from all earlier ones… All that is solid melts into air, all that is holy is profaned, and man is compelled to face with sober senses, his real conditions of life, and his relations with his kind.’ William Morris (1878) ‘The lesser arts’ in Art in Theory 1815-1900: 750- 58. ‘I do not want art for a few, any more than education for a few, or freedom for a few.’

12. The Gothic Revival The Romantic period: yearning for the imaginary past, for faith and imagination Caspar David Friedrich City at Moonrise 1817

13. Gothic revival as nationalistic style S.S. Teulon (1812-1873) Buxton memorial Fountain Millbank, City of Westminster erected to celebrate the passing of the Slavery Abolition Act 1833

14. Charles Barry and AWN Pugin The House of Lords, The Palace of Westminster (1835-68)

15. ‘Mediæval art applicable to modern purposes’ The Art Journal 1849

16. 19 th century Realism ‘Preceded by Romanticism and followed by what is now generally termed Symbolism, [Realism] was the dominant movement from About 1840 until 1870-80’ ‘Its aim was to give a truthful, objective and impartial representation of the real world, based on meticulous observation of contemporary life.’

17. Gustave Courbet (1819-77), photographed by Nadar, c.1855 Sketch of Courbet’s ‘Pavilion of Realism’, 1855

19. Courbet, The Bathers, 1853

20. Courbet, La Source, 1868 Ingres, La Source, 1856

21. Courbet, The Stonebreakers, 1849 (destroyed)

22. Courbet, Burial at Ornans, 1849, Louvre

23. Eugene Delacroix, Liberty Leading the People, 28 July, 1830

24. The Pre-Raphaelite Brotherhood 1848

26. Impressionism c.1874-1880s SUBJECT MATTER TECHNIQUE Colour theory Michel Chevreul Law of simultaneous contrast 1839

28. Gustave Caillebotte, Place de l’Europe on a Rainy Day, 1877

29. Edouard Manet, Concert at the Tuileries Gardens, 1862

34. Edouard Manet, Bar at the Folies-Bergere, 1881-2

35. Edgar Degas, The Glass of Absinthe, 1876

39. Paul Serusier (one of the Nabis) The talisman 1888

41. Coal exchange London 1848 Industry, fossil fuels and modern materials

42. Historicism: factory-made period styles in abundance

44. Haussmann’s Paris of 1851, boulevards, city plans, and commerce

46. Dressing up for city life

47. Modern life: Identity in the city Baudelaire; city minds are dominated by the ‘transitory, the fugitive, the contingent’. Baudelaire also proposed the cool dandyish observer, the flâneur, as the new type of isolated and lonely city personality Georg Simmel (1895-1918), described city life as a series of shocks, dislocations, and fragmented consciousness leading to solitude. Urban life exposes you constantly to the scrutiny of strangers. Clothes aid self-presentation. Veblen: theory of conspicuous consumption, his analysis of the new American rich in late 19th century. Fashion and consumption serves as a social marker Goffman: The presentation of the self in everyday life. fashion solves the performative problem of living amongst strangers by providing the precise gestures, roles and scripts we need in order to continue every day Charles Baudelaire, poet of the lonely city

48. John Harvey Men in Black 1995: Dickens, Ruskin and Baudelaire all asked why it was, in this age of supreme wealth and power, that men wanted to dress as if going to a funeral. ‘Is it not the inevitable uniform of our suffering age, carrying on its very shoulders, black and narrow, the mark of perpetual mourning’ Charles Baudelaire Salon of 1846 Norah Waugh The Cut of Men’s Clothes Fashion plate of 1842

50. J.C. Flugel The Psychology of Clothes 1932: Flugel put forward a theory that has now come to be known as the ‘Great Masculine Renunciation’. At the end of the 18th century, according to him, ‘Man abandoned his claim to be considered beautiful. He henceforth aimed at being only useful.’

51. Hollander has a slightly different take with her notion of anti-fashion derived from the theories of Laqueur Anne Hollander (1994) Sex and suits Thomas Laqueur (1999) Making sex: body and gender from the Greeks to Freud Fashion plate of 1856 Norah Waugh The Cut of Men’s Clothes

53. M. de Turenne: photograph by Nadar 1884

54. Victorian period 1837- Corset and cage 1866

55. Climbing in crinolines 1863 I say--how does one lie down in a steel hoop? 1858

57. The Jaeger sanitary woollen corset, invented as a ‘comfortable’ alternative to tight lacing

59. The S-curve corset 1902 (above) --and ‘straightening out’ 1908 (below)

61. Corset controversies: Entwhistle, J. (2000) ‘The corset controversy’ in The fashioned body London: Polity Press Fantanel, B. (1997) Support and Seduction: A History of Corsets and Bras New York: Harry & Abrams Koda, H. (2001) Extreme Beauty: the Body Transformed New York: Metropolitan Museum of Art Steele, V. (2001) The Corset: A Cultural History New Haven: Yale UP Summers, L. (2001) Bound to Please: A History of the Victorian Corset Oxford: Berg

63. Parisian guidebooks of the early nineteenth century described the arcades as: interior boulevards... These passages, a new discovery of industrial luxury, are glass-covered, marble- walled walkways through entire blocks of buildings, the owners of which have joined together to engage in such a venture. Lining both sides of these walkways which receive their light from above are the most elegant of commodity shops, so that such an arcade is a city, a world in miniature.

64. Dressing up for city life

65. At heart of Haussmann’s Paris was the Bon Marché The crowd throngs at the doors on opening day, ready to circulate the first purpose built department store.

66. The ‘father of haute couture’ Charles Worth used historical costume collections and references to give value to his designs and to locate himself in a tradition of elite display

67. This image above is typical of the second Empire evening dress designed to literally ‘gift-wrap’ young virginal girls for the marriage market; to the right is a later publicity image from the Expo Universelle of 1894 (Image from Fashion (2002)from the Collection of Kyoto Costume Institute Taschen Books) Charles Worth

77. INTERVAL