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In works like these, Anderson insists on making society’s disregard visible by letting modernity’s outcasts take centre stage. They are shown to occupy – to take possession of – public spaces such as park benches, museums and libraries.
Feb 11, 2016 · He detested the modern age. Modernity, in his own words, was a return to ‘barbarism in ethics, childish perversity in the arts and baser ambitions in living.’. Hence, his works often conjure up a quaint world untouched by progress.
Anderson’s work appears to be untouched by modernity. Tradition is his subject: Craftsmen and farm labourers carrying out work that is now performed by machinery. Market scenes and street views that recall the Edwardian age.
Alfred Charles Stanley Anderson CBE RA (11 May 1884 – 4 March 1966) was a British engraver, etcher and watercolour painter. Anderson was principally known for the series of highly detailed engravings of traditional British crafts that he completed over a twenty-year period beginning in 1933.
May 24, 2015 · A key figure in the revival of line engraving in the 1920s, Stanley Anderson RA (1884–1966) is best known for his series of prints memorialising England’s vanishing rural crafts.
by Harry Heuser [These gallery texts were written for the exhibition Unmaking the Modern: The Work of Stanley Anderson, which was on show at the School of Art Museum and Galleries, Aberystwyth, from 1 February until 11 March 2016.
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Abstract. A theory of nationalism should explain the evidence provided by the historical record, but also provide unexpected insight. The modernist theory of nationalism, espoused among others by Benedict Anderson and Eric Hobsbawm, provides a surprising chronology of nationalism’s modernity.
