‘Love me in London & leave me alone in France’ : On Keeping
Distance in British Modernist Patronage

k 2024

‘Love me in London & leave me alone in France’ : On Keeping Distance in British Modernist Patronage

MELIŠOVÁ, Kristína

Základní údaje

Originální název

‘Love me in London & leave me alone in France’ : On Keeping Distance in British Modernist Patronage

Autoři

MELIŠOVÁ, Kristína

Vydání

The art of asking. Strategies of patronage solicitation through the ages in music, literature, visual arts, and intellectual culture, November 15, 2024, Utrecht University, Netherlands, 2024

Další údaje

Jazyk

angličtina

Typ výsledku

Prezentace na konferencích

Obor

60206 Specific literatures

Stát vydavatele

Nizozemské království

Utajení

není předmětem státního či obchodního tajemství

Odkazy

URL konference

Organizační jednotka

Filozofická fakulta

Klíčová slova anglicky

patronage; Morrell; modernism; Colefax; solicitation; epistle

Příznaky

Mezinárodní význam, Recenzováno

Změněno: 21. 1. 2025 14:19, Mgr. Jana Pelclová, Ph.D.

Anotace

V originále

Their contemporaneity and partially overlapping sets of acquaintances have always inspired rumours of rivalry between Sibyl Colefax and Ottoline Morrell. Colefax’s experience as a businesswoman is reflected in the way she conducts patronage and presides over her salons to a very different effect from Morrell’s own efforts, which were marked by her unfulfilled artistic desires and devoted spirituality. “[Colefax] ‘lives’ with Society of eminent men – as a harlot lives with a man,” Morrell commented controversially in her diary, highlighting her disrespect for the patronage of a more clearly transactional nature which Colefax was conducting, not fully aware of the complications that her own unquestionable championing of art brought. Since the almost reckless abandon with which Morrell approached patronage has influenced the whole course of her relationship with artists, it can already be seen manifested in the act of soliciting help—from careful approaches to a total disregard for Morrell’s wishes. Although these two major British patronesses of the first half of the twentieth century never clashed quite openly and largely tried to ignore each other’s presence in modernist circles, a comparison of their relationship with their beneficiaries reveals the difference establishing boundaries makes in patronage relationship and raises questions regarding the effectiveness of what could, at least in Morrell’s case, be seen as a more involved instance of modern patronage.

Návaznosti

MUNI/A/1328/2023, interní kód MU

Název: Jazyk, literatura a kultura v anglofonních kontextech I

Investor: Masarykova univerzita, Jazyk, literatura a kultura v anglofonních kontextech I

Citovat

MELIŠOVÁ, Kristína. ‘Love me in London & leave me alone in France’ : On Keeping Distance in British Modernist Patronage. In The art of asking. Strategies of patronage solicitation through the ages in music, literature, visual arts, and intellectual culture, November 15, 2024, Utrecht University, Netherlands. 2024.

@proceedings{2453880,
   author = {Melišová, Kristína},
   booktitle = {The art of asking. Strategies of patronage solicitation through the ages in music, literature, visual arts, and intellectual culture, November 15, 2024, Utrecht University, Netherlands},
   keywords = {patronage; Morrell; modernism; Colefax; solicitation; epistle},
   language = {eng},
   title = {‘Love me in London & leave me alone in France’ : On Keeping Distance in British Modernist Patronage},
   url = {https://mecenaatstudies.sites.uu.nl/call-for-proposals/},
   year = {2024}
}

TY  - CONF
ID  - 2453880
AU  - Melišová, Kristína
PY  - 2024
TI  - ‘Love me in London & leave me alone in France’ : On Keeping Distance in British Modernist Patronage
KW  - patronage
KW  - Morrell
KW  - modernism
KW  - Colefax
KW  - solicitation
KW  - epistle
UR  - https://mecenaatstudies.sites.uu.nl/call-for-proposals/
N2  - Their contemporaneity and partially overlapping sets of acquaintances have always inspired rumours of rivalry between Sibyl Colefax and Ottoline Morrell. Colefax’s experience as a businesswoman is reflected in the way she conducts patronage and presides over her salons to a very different effect from Morrell’s own efforts, which were marked by her unfulfilled artistic desires and devoted spirituality. “[Colefax] ‘lives’ with Society of eminent men – as a harlot lives with a man,” Morrell commented controversially in her diary, highlighting her disrespect for the patronage of a more clearly transactional nature which Colefax was conducting, not fully aware of the complications that her own unquestionable championing of art brought. Since the almost reckless abandon with which Morrell approached patronage has influenced the whole course of her relationship with artists, it can already be seen manifested in the act of soliciting help—from careful approaches to a total disregard for Morrell’s wishes. Although these two major British patronesses of the first half of the twentieth century never clashed quite openly and largely tried to ignore each other’s presence in modernist circles, a comparison of their relationship with their beneficiaries reveals the difference establishing boundaries makes in patronage relationship and raises questions regarding the effectiveness of what could, at least in Morrell’s case, be seen as a more involved instance of modern patronage.
ER  -

MELIŠOVÁ, Kristína. ‘Love me in London \&{} leave me alone in France’ : On Keeping Distance in British Modernist Patronage. In \textit{The art of asking. Strategies of patronage solicitation through the ages in music, literature, visual arts, and intellectual culture, November 15, 2024, Utrecht University, Netherlands}. 2024.

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