Book contents
- Michael Field in Context
- Michael Field in Context
- Copyright page
- Contents
- Figures
- Contributors
- Preface
- Acknowledgements
- Note on the Text
- Chronology
- Part IWorks and Days
- Part IIForms and Genres
- Part IIIIn the Name of Time
- Part IV‘Be contemporaneous’
- Chapter 20Michael Field, Walter Pater, and Queer Aestheticism
- Chapter 21The New Woman and Late-Victorian Feminism
- Chapter 22Michael Field and Oscar Wilde
- Chapter 23French Decadence
- Chapter 24Michael Field among the Women Poets
- Chapter 25Late-Victorian Theatre and the New Drama
- Chapter 26Aesthetic Book Design
- Part VAfterlives and Future Fields
- Further Reading
- Index
Chapter 26 - Aesthetic Book Design
from Part IV - ‘Be contemporaneous’
Published online by Cambridge University Press: 03 October 2025
Book contents
- Michael Field in Context
- Michael Field in Context
- Copyright page
- Contents
- Figures
- Contributors
- Preface
- Acknowledgements
- Note on the Text
- Chronology
- Part IWorks and Days
- Part IIForms and Genres
- Part IIIIn the Name of Time
- Part IV‘Be contemporaneous’
- Chapter 20Michael Field, Walter Pater, and Queer Aestheticism
- Chapter 21The New Woman and Late-Victorian Feminism
- Chapter 22Michael Field and Oscar Wilde
- Chapter 23French Decadence
- Chapter 24Michael Field among the Women Poets
- Chapter 25Late-Victorian Theatre and the New Drama
- Chapter 26Aesthetic Book Design
- Part VAfterlives and Future Fields
- Further Reading
- Index
Summary
Bradley and Cooper wanted their works to be published in formats that were concretely expressive of their contents. From 1890 onwards, virtually none of their books was left untouched by the designer’s hand, and Bradley and Cooper sought out some of the most innovative designers and printers of their day (their long working relationship with Charles Ricketts especially stands out) to produce appropriate print forms for their works. Yet even before the 1890s, Bradley and Cooper strove to match elements of book design to their poetics: from the very start, they had conceptualised their books as embodied objets d’art, and their aestheticism inspired every aspect of their books.
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- Michael Field in Context , pp. 239 - 256Publisher: Cambridge University PressPrint publication year: 2025
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