Lynda Nead
Biographic Data
| ID | 308626 |
|---|---|
| NAME | Lynda Nead |
| GIVEN NAMES | Lynda |
| FAMILY NAME | Nead |
| SIGNATURE | NEAD L |
| AFFILIATIONS | Birkbeck, University of London |
| VERIFIED | No |
| TOTAL WORKS | 35 |
| TOTAL CITATIONS | 30 |
| AUTHOR COUNT | 35 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1982 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 3 |
Ringcraft
The Secrets of Gas
The Gas has its secrets, and I happen to know them. The Gas has a voice, and I can hear it—a voice beyond the rushing whistle in the pipe, and the dull buzzing flare in the burner. It speaks, actively, to men and women of what is, and of what is done and suffered by night and by day; and though it often crieth like Wisdom in the streets and no man regardeth it, there are, and shall be some to listen to its experiences, hearken to its counsels, an…
Victorian Beauty…1945–1955
This article examines the reworking of Victorian beauty in the visual culture of post-war Britain. Although the work of post-war modernization and reconstruction was regarded as a symbolic break with the nineteenth-century past, the Victorian age continued to haunt the nation in the years following the end of the war, generating its own distinctive fascination and beauty. Focusing on an historical melodrama, Pink String and Sealing Wax (UK; dir. …
A Bruise, a Neck, and a Little Finger
Ruth Ellis was the last woman to be hanged in Britain. On April 10, 1955, in front of witnesses, she shot and killed her lover, David Blakely, and was immediately arrested and imprisoned. In so many other ways, however, her life was similar to those of many aspirational women of the working classes in postwar Britain; she achieved notoriety because of the murder and execution. This essay uses archives of press photography to examine the diverse w…
Dressing for Austerity: Aspiration, leisure and fashion in postwar Britain
Red Taffeta Under Tweed”: The Color of Post-War Clothes
In the years following the end of the Second World War and the passing of the 1948 British Nationality Act, the language of color was gradually and steadily harnessed to ideologies of race and nation, as chromatic hue and skin color became utterly imbricated. The relationship between the colors of clothing and skin are explored first through discussion of the naming and standardization of colors from the 1930s to the 1950s by the British Colour C…
Fallen Women and Foundlings: Rethinking Victorian Sexuality
The publication in the late 1970s and early 1980s of Michel Foucault's History of Sexuality had an enormous impact on the shaping of research in the humanities and social sciences. For those working on the cultural history of the Victorian period, Foucault's writing opened up new ways of understanding the formation of gender and sexual identities and of working with a wide range of archival and primary material. The sexual politics of the ninetee…
The Secret of England's Greatness
There is a painting by Thomas Jones Barker that hangs in London's National Portrait Gallery called The Secret of England's Greatness (c. 1863; Figure 1). Both the image and its title are emphatic and unambiguous, their aim to reveal the truth behind the mystery of England's might and success; should there be any remaining traces of uncertainty, however, there is a sub-title: Queen Victoria Presenting a Bible in the Audience Chamber at Windsor. Fo…
The Pleasure Garden, from Vauxhall to Coney Island
The Layering of Pleasure: Women, Fashionable Dress and Visual Culture in the mid-Nineteenth Century
In March 1863, on the occasion of the wedding of the Prince of Wales to Princess Alexandra of Denmark, the Penny Illustrated Paper described the behaviour of the crowds who were packed on to the st
London: Modern City
To the form of the new means of production, which to begin with is still dominated by the old (Marx), there correspond images in the collective consciousness in which the new and the old are intermingled.1 –Walter Benjamin, ‘Paris – the Capital of the Nineteenth Century’ There was a time in the study of nineteenth-century art, when the city and modernity were synonymous with Paris, which in the words of Walter Benjamin was ‘the Capital of the Nin…
The Cutman: Boxing, the Male Body and the Wound
A cutman kneels beside the fighter ... [he] works quickly... He knows the fighter wants to be anywhere but here, seen like this. It's more than blood pouring onto the canvas. It's pride, ego, hope. The cutman's job is to keep these things out of the puddle forming between them' (Jones 2008). Boxing is arguably one of the most visually arresting of sports, its history punctuated with intense, expressive images. This paper examines one category of …
Stilling the Punch: Boxing, Violence and the Photographic Image
Boxing is arguably one of the most visually arresting of sports; its images as potent and corporeal as the sport itself. This paper focuses on one category of boxing picture, the photograph of a head punch – the image taken at the moment when the gloved fist of a boxer makes contact with the opponent’s face. Features distorted by the force of the blow, the head recoiled with its weight and power, the image is both fascinating and repulsive. To un…
The History in Pictures
This article considers the relationship between the picture as historical document and as aesthetic experience. Pictures, it is suggested, are more than passive conveyors of visual evidence; they do not reflect other forms of historical experience and representation but actively work on and may alter those structures. The pleasures of the image should be recognized as a fundamental quality of this particular form of historical evidence
Strip: Moving bodies in the 1890s
Early films created new representations of the sexualised body and provided new opportunities for erotic viewing. Focussing on the 1896 film, A Victorian Lady in her Boudoir, this articles analyses this genre of ‘strip’ films in relation to perceptions of audience response and historical definitions of obscenity and taste. The film is described in the article as the culmination of historical developments concerning technology, movement and the bo…
Velocities of the Image C . 1900
Animating the Everyday: London on Camera circa 1900
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Frederic Leighton's The Fisherman and the Syren
(2002). Frederic Leighton's The Fisherman and the Syren. Women: A Cultural Review: Vol. 13, No. 1, pp. 70-72
Paintings, Films and Fast Cars: A Case Study of Hubert von Herkomer
In a recent conversation with Bruno Latour, the French philosopher Michel Serres visualized his concept of modernity through the image of the automobile. The car, Serres argued, could not be defined as uniquely of one period or as belonging exclusively to the modern, being ‘a disparate aggregate of scientific and technical solutions dating from different periods ... The ensemble is only contemporary by assemblage.’ This metaphor offers a highly p…
Imperial Cities: Landscape, Display and Identity
Mapping the Self: Gender, Space, and Modernity in Mid-Victorian London
In 1857 the first Obscene Publications Act was passed in Britain. In the months leading up to the passing of this legislation, a debate emerged which focused on the spaces of the modern metropolis, the production of modern forms of visual culture, and the possibility of transgressive forms of cultural consumption. One street in London became the symbol for this definition of obscenity-Holywell Street in Westminster, which ran parallel to the Stra…
Sexuality, Modernity and the Victorians
(1996). Sexuality, Modernity and the Victorians. Journal of Victorian Culture: Vol. 1, No. 1, pp. 118-130
Troubled bodies: Art, obscenity and the connoisseur
Giving the Body Its Due
Seductive Canvases: Visual Mythologies of the Artist and Artistic Creativity
Journal Article Seductive Canvases: Visual Mythologies of the Artist and Artistic Creativity Get access LYNDA NEAD LYNDA NEAD Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 18, Issue 2, 1995, Pages 59–69, https://doi.org/10.1093/oxartj/18.2.59 Published: 01 December 1995
Animating the Everyday: London on Camera circa 1900
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Female Nude: Pornography, Art, and Sexuality
Mapping the Self: Gender, Space, and Modernity in Mid-Victorian London
In 1857 the first Obscene Publications Act was passed in Britain. In the months leading up to the passing of this legislation, a debate emerged which focused on the spaces of the modern metropolis, the production of modern forms of visual culture, and the possibility of transgressive forms of cultural consumption. One street in London became the symbol for this definition of obscenity-Holywell Street in Westminster, which ran parallel to the Stra…
The Layering of Pleasure: Women, Fashionable Dress and Visual Culture in the mid-Nineteenth Century
In March 1863, on the occasion of the wedding of the Prince of Wales to Princess Alexandra of Denmark, the Penny Illustrated Paper described the behaviour of the crowds who were packed on to the st
Representation, Sexuality and the Female Nude
Tell Me, Pretty Maiden. The Victorian and Edwardian Nude by Ronald Pearsall , Exeter: Webb & Bower, 1981, 176 pp., 73 ills, 16 colour pls, £8.95 Sex, Politics and Society: The Regulation of Sexuality since 1800 by Jeffrey Weeks , London: Longman, 1981, 306 pp., £5.95
Dressing for Austerity: Aspiration, leisure and fashion in postwar Britain
Red Taffeta Under Tweed”: The Color of Post-War Clothes
In the years following the end of the Second World War and the passing of the 1948 British Nationality Act, the language of color was gradually and steadily harnessed to ideologies of race and nation, as chromatic hue and skin color became utterly imbricated. The relationship between the colors of clothing and skin are explored first through discussion of the naming and standardization of colors from the 1930s to the 1950s by the British Colour C…
Fallen Women and Foundlings: Rethinking Victorian Sexuality
The publication in the late 1970s and early 1980s of Michel Foucault's History of Sexuality had an enormous impact on the shaping of research in the humanities and social sciences. For those working on the cultural history of the Victorian period, Foucault's writing opened up new ways of understanding the formation of gender and sexual identities and of working with a wide range of archival and primary material. The sexual politics of the ninetee…
The Secret of England's Greatness
There is a painting by Thomas Jones Barker that hangs in London's National Portrait Gallery called The Secret of England's Greatness (c. 1863; Figure 1). Both the image and its title are emphatic and unambiguous, their aim to reveal the truth behind the mystery of England's might and success; should there be any remaining traces of uncertainty, however, there is a sub-title: Queen Victoria Presenting a Bible in the Audience Chamber at Windsor. Fo…
Strip: Moving bodies in the 1890s
Early films created new representations of the sexualised body and provided new opportunities for erotic viewing. Focussing on the 1896 film, A Victorian Lady in her Boudoir, this articles analyses this genre of ‘strip’ films in relation to perceptions of audience response and historical definitions of obscenity and taste. The film is described in the article as the culmination of historical developments concerning technology, movement and the bo…
Velocities of the Image C . 1900
Seduction, Prostitution, Suicide: On the Brink by Alfred Elmore
Seduction, Prostitution, Suicide: On the Brink by Alfred Elmore
Representation, Sexuality and the Female Nude
Tell Me, Pretty Maiden. The Victorian and Edwardian Nude by Ronald Pearsall , Exeter: Webb & Bower, 1981, 176 pp., 73 ills, 16 colour pls, £8.95 Sex, Politics and Society: The Regulation of Sexuality since 1800 by Jeffrey Weeks , London: Longman, 1981, 306 pp., £5.95
The Magdalen in Modern Times: The Mythology of the Fallen Woman in Pre-Raphaelite Painting
The Magdalen in Modern Times: The Mythology of the Fallen Woman in Pre-Raphaelite Painting LYNN NEAD LYNN NEAD Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 7, Issue 1, 1984, Pages 26–37, https://doi.org/10.1093/oxartj/7.1.26 Published: 01 March 1984
Pleasing, Cheerful and Pretty: Sexual and Cultural Politics at the Hayward Gallery
Journal Article ‘Pleasing, Cheerful and Pretty’?: Sexual and Cultural Politics at the Hayward Gallery Get access Renoir , Arts Council exhibition, sponsored by IBM, Hayward Gallery, London, January–April 1985 . LYNN NEAD LYNN NEAD Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 8, Issue 1, 1985, Pages 72–74, https://doi.org/10.1093/oxartj/8.1.72 Published: 01 March 1985
Myths of sexuality: Representations of women in Victorian Britain
An Iconography of Misogyny
Idols of Perversity: Fantasies of Feminine Evil in Fin‐de‐Siècle Culture by Bram Dijkstra , New York and Oxford: Oxford University Press, 1986, 453 pp., 317 b. & w. ills., $37.95
The Female Nude: Pornography, Art, and Sexuality
The Female Nude: Art, Obscenity and Sexuality
Art History and the Body
Naked Authority: The Body in Western Painting 1830–1908 by Marcia Pointon , Cambridge: Cambridge University Press, 1990, 160 pp., 48 b. & w. illus., £35
The Body Imaged: The Human Form and Visual Culture since the Renaissance
Giving the Body Its Due
Seductive Canvases: Visual Mythologies of the Artist and Artistic Creativity
Journal Article Seductive Canvases: Visual Mythologies of the Artist and Artistic Creativity Get access LYNDA NEAD LYNDA NEAD Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 18, Issue 2, 1995, Pages 59–69, https://doi.org/10.1093/oxartj/18.2.59 Published: 01 December 1995
Sexuality, Modernity and the Victorians
(1996). Sexuality, Modernity and the Victorians. Journal of Victorian Culture: Vol. 1, No. 1, pp. 118-130
Troubled bodies: Art, obscenity and the connoisseur
Mapping the Self: Gender, Space, and Modernity in Mid-Victorian London
In 1857 the first Obscene Publications Act was passed in Britain. In the months leading up to the passing of this legislation, a debate emerged which focused on the spaces of the modern metropolis, the production of modern forms of visual culture, and the possibility of transgressive forms of cultural consumption. One street in London became the symbol for this definition of obscenity-Holywell Street in Westminster, which ran parallel to the Stra…
Imperial Cities: Landscape, Display and Identity
Frederic Leighton's The Fisherman and the Syren
(2002). Frederic Leighton's The Fisherman and the Syren. Women: A Cultural Review: Vol. 13, No. 1, pp. 70-72
Paintings, Films and Fast Cars: A Case Study of Hubert von Herkomer
In a recent conversation with Bruno Latour, the French philosopher Michel Serres visualized his concept of modernity through the image of the automobile. The car, Serres argued, could not be defined as uniquely of one period or as belonging exclusively to the modern, being ‘a disparate aggregate of scientific and technical solutions dating from different periods ... The ensemble is only contemporary by assemblage.’ This metaphor offers a highly p…
Velocities of the Image C . 1900
Animating the Everyday: London on Camera circa 1900
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Strip: Moving bodies in the 1890s
Early films created new representations of the sexualised body and provided new opportunities for erotic viewing. Focussing on the 1896 film, A Victorian Lady in her Boudoir, this articles analyses this genre of ‘strip’ films in relation to perceptions of audience response and historical definitions of obscenity and taste. The film is described in the article as the culmination of historical developments concerning technology, movement and the bo…
The History in Pictures
This article considers the relationship between the picture as historical document and as aesthetic experience. Pictures, it is suggested, are more than passive conveyors of visual evidence; they do not reflect other forms of historical experience and representation but actively work on and may alter those structures. The pleasures of the image should be recognized as a fundamental quality of this particular form of historical evidence
Stilling the Punch: Boxing, Violence and the Photographic Image
Boxing is arguably one of the most visually arresting of sports; its images as potent and corporeal as the sport itself. This paper focuses on one category of boxing picture, the photograph of a head punch – the image taken at the moment when the gloved fist of a boxer makes contact with the opponent’s face. Features distorted by the force of the blow, the head recoiled with its weight and power, the image is both fascinating and repulsive. To un…
The Layering of Pleasure: Women, Fashionable Dress and Visual Culture in the mid-Nineteenth Century
In March 1863, on the occasion of the wedding of the Prince of Wales to Princess Alexandra of Denmark, the Penny Illustrated Paper described the behaviour of the crowds who were packed on to the st
London: Modern City
To the form of the new means of production, which to begin with is still dominated by the old (Marx), there correspond images in the collective consciousness in which the new and the old are intermingled.1 –Walter Benjamin, ‘Paris – the Capital of the Nineteenth Century’ There was a time in the study of nineteenth-century art, when the city and modernity were synonymous with Paris, which in the words of Walter Benjamin was ‘the Capital of the Nin…
Art (26 works) · History (17 works) · Art history (15 works) · Aesthetics (13 works) · Sociology (12 works) · Visual arts (12 works) · Law (9 works) · Political science (9 works) · Psychology (9 works) · Historical Art and Culture Studies (8 works)