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What's queer about long-nineteenth-century British art now? Answering this question, Edwards address two entirely different examples: Henry Hugh Armstead’s mid-Victorian bronze statuette ‘Satan dismayed’ otherwise known as ‘Saint Michael and the Serpent’ (1852) and Henry Scott Tuke’s 1924 oil painting, ‘Companions’. Both artists remain marginalised, and have proven difficult to canonise for different reasons: Armstead as a predominantly decorative artist in a canon still primarily oriented towards the two-dimensional and the category of fine art, and Tuke because of the open secret of the pederastic character of his work, at a moment in which childhood sexual abuse remains one of the key cultural issues of our time. What might we learn from returning to think about both?
This lecture is a pre-recorded lecture that will be made available to ticketholders to watch in their own time. This lecture is the fourth in a four-part series, Manpower Lectures: Antiquity, aesthetes and athleticism.
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