By D. Maltz
This cultural learn finds the interdependence among British Aestheticism and late-Victorian social reform pursuits. Following John Ruskin, who believed in art's strength to civilize the negative, cultural philanthropists promulgated a faith of attractiveness as they encouraged functional schemes for tenement reform, university-settlement schooling, Sunday museum starting, and excessive Anglican revival. even though topic to novelists' ambivalent, even satirical, representations, missionary aesthetes however constituted an influential social community, imbuing fin-de-si?cle inventive groups with political goal and political lobbies with aesthetic sensibility.
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Extra resources for British Aestheticism and the Urban Working Classes, 1870-1900: Beauty for the People (Palgrave Studies in Nineteenth-Century Writing and Culture)
Just as the art-loving aesthete is not always a fashionable dandy, we may also argue that the fashionable dandy is not always a selﬁsh, perverse decadent. 10 (We might think of the reclusive decadent Des Esseintes collecting laces and perfumes in J. K. ) Gagnier did not target where dandyism falls on the scale, because she could see that it was unstable; in fact, she situated Wilde beside Ruskin and Morris, the well-meaning, generous-minded aesthetes. Again, the dandy is not always a decadent. Henrietta Barnett fondly recalled the Rev.
A missionary aesthetic family tree: colonies and coteries Beyond reconsidering our assumptions about aesthetes’ dandyish selfrepresentation, we can turn to social networks, constructing a missionary aesthetic genealogy. For instance, we might look at Janey Nassau Senior, the woman whose singing entrances the working-class court in Henrietta Barnett’s narrative. The ﬁrst female inspector of workhouses and founder of the Metropolitan Association for Befriending Young Servants, she was also a close friend of the symbolist painter G.
We read in the papers that a series of entertainments to Sandwich Men have recently been given, and that they were greatly delighted with the mental treat afforded by the music of Beethoven, Mozart and Schubert, and the literature of Shakspeare [sic], Tennyson and Dickens. If at these gatherings, there was a combination of Beethoven and Beefsteaks, Mozart and Mutton-chops, Schubert and Sandwiches, Dickens and Dutch cheese, Tennyson and Tea, and Shakspeare [sic] and Shrimps, we can imagine the entertainment to be very satisfactory.
British Aestheticism and the Urban Working Classes, 1870-1900: Beauty for the People (Palgrave Studies in Nineteenth-Century Writing and Culture) by D. Maltz