Punch

‘An artist who can get away with this’: The Press Response to Yves Klein’s 1957 London Exhibition

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Yves Klein calls his pictures “Propositions.” He very carefully roughens the surfaces so as to express his sensibility. Then he invites the spectator to share the artist’s sensibility by “allowing the mind to plunge into the heart of the colour.”[1]

The debate around modern art versus representational art had begun by the 1950s. The pages of The Listener had followed the debates, as a subject that had “often led to controversy”[2]. Modern art was perceived as an area where “execution determines design instead of design determining execution”, and the modern artist “has done away with the rational meaning of the subject-matter required in traditional art and allows unconscious phantasy to express itself more clearly”[3]. Klein, as the emerging face of modern art, represented this, arguing “that our primary ocular sensation is that of colour, and that he, as an artist, wishes to free this sensation of colour from all extraneous or limiting circumstances.”[4]

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‘The Very Latest Craze’ Slumming Parties in the Late-Nineteenth Century

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By Megan Murphy, Gale Ambassador at the University of Liverpool

During the mid-nineteenth century, slums in the world’s largest metropolises (namely London and New York) became a site of continuous fascination. From Henry Mayhew’s famous ‘Labour and the Poor’ series in The Morning Chronicle, to Jacob Riis’ book length study ‘How the Other Half Live’, social commentators in both Britain and the US were captivating the minds of middle class society with their investigations into the living conditions of the urban poor. Yet what is perhaps most interesting about this fascination is the social phenomenon of ‘slumming parties’ which resulted. This phenomenon was readily reported on within the pages of both the British and US press, which I have been able to investigate through the British Library Newspapers and Nineteenth Century US Newspapers archives inside of Gale Primary Sources.

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The Original Dixieland Jazz Band – Centenary of the first Jazz record

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Jazz-Original-Dixieland-Jazz-Band-elegantly-attired-(2)

In New Orleans, Jazz began its history around 1895 with the cornetist Buddy Bolden, whom Adrian Troy called Jazz’s first great exponent.[1] Bolden was depicted by Michael Ondaatje in his 1976 novella Coming through Slaughter as a jazz pioneer, struggling with alcoholic psychosis. Writing in The Times in 1992, Clive Davis also named Bolden the first legendary New Orleans jazz figure – legendary in that unlikely tales surround his mythical status, such as that ‘on certain nights, his playing could be heard miles away.’[2] Unfortunately, no recordings of Bolden are known to exist and despite the allure of rumored cylinder recordings dating to 1894 we only have the likes of Ondaatje’s novella to evoke the sound of one of the world’s first Jazz icons.[3]

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A History of Golf with Gale Primary Sources

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Golf has a long and rich history, with countless books having been written on the origins and development of the game. But if a new history was to be written today with the help of Gale Primary Sources, how much would our knowledge be improved? My suspicion is that it would be improved a good deal, for even a relatively short period of research using Gale Primary Sources unearths thousands of interesting references to golf from the fifteenth century forward, many of which may never have been seen before. Here follows a select sample of the references to golf in the Gale historical collections that could potentially give us a better appreciation of the history of the game and the role it has played in society.

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Packing a Punch in Colonial Australia

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Melbourne-1

With Australian Heritage Week nearly upon us (16 – 24 April), the following is a post concerning a particular perspective of Australian colonial history, being a perspective that can be researched in detail with Gale Primary Sources collections. It concerns Australia’s paradoxical relationship with England since 1788, as reflected within the pages of London’s Punch magazine and its Australian editions – most of which can be seen in Gale Primary Sources collections, Punch Historical Archive, 1841 – 1992  and 19th Century UK Periodicals.

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Dorothy L. Sayers and The Mysterious English

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Chatham House

Dorothy L. Sayers (1893-1957) is probably best remembered for her gripping crime novels, and her creation of the much-loved, aristocratic detective Lord Peter Wimsey. It is perhaps less commonly known that, beyond her carefully-woven fictional tales, Sayers also possessed a keen interest in politics and current affairs. In August 1940, it was this interest that prompted Sayers to deliver a speech at Chatham House, the Royal Institute of International Affairs, in London.

Sayers’ speech was entitled The Mysterious English, and the 15-page transcript has been digitised as part of the Chatham House Online Archive .1 As one would expect, the oration is full of Sayers’ characteristic wit and humour, and the document offers a unique insight into the author’s attitudes and opinions.

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