Book contents
- Michael Field in Context
- Michael Field in Context
- Copyright page
- Contents
- Figures
- Contributors
- Preface
- Acknowledgements
- Note on the Text
- Chronology
- Part I Works and Days
- Part II Forms and Genres
- Part III In the Name of Time
- Part IV ‘Be contemporaneous’
- Chapter 20 Michael Field, Walter Pater, and Queer Aestheticism
- Chapter 21 The New Woman and Late-Victorian Feminism
- Chapter 22 Michael Field and Oscar Wilde
- Chapter 23 French Decadence
- Chapter 24 Michael Field among the Women Poets
- Chapter 25 Late-Victorian Theatre and the New Drama
- Chapter 26 Aesthetic Book Design
- Part V Afterlives 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
Edited by
Book contents
- Michael Field in Context
- Michael Field in Context
- Copyright page
- Contents
- Figures
- Contributors
- Preface
- Acknowledgements
- Note on the Text
- Chronology
- Part I Works and Days
- Part II Forms and Genres
- Part III In the Name of Time
- Part IV ‘Be contemporaneous’
- Chapter 20 Michael Field, Walter Pater, and Queer Aestheticism
- Chapter 21 The New Woman and Late-Victorian Feminism
- Chapter 22 Michael Field and Oscar Wilde
- Chapter 23 French Decadence
- Chapter 24 Michael Field among the Women Poets
- Chapter 25 Late-Victorian Theatre and the New Drama
- Chapter 26 Aesthetic Book Design
- Part V Afterlives 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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