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2 results

  • 15 - Land, property and planning

  • from Part III - Construction
  • Edited by Martin Daunton, University of Cambridge
  • Book:
    The Cambridge Urban History of Britain
    Published online:
    28 March 2008
    Print publication:
    25 January 2001, pp 467-494

  • Summary

    This chapter deals with the overall shape and form of cities and property development. These are brought together through a study of late Victorian and Edwardian land reform, which had important implications both for control of urban development through town planning and for property relations. Urbanisation in the late nineteenth century focused more on existing centres, leading to the growth of major cities, but those cities were themselves less concentrated in form. The passage from rural to urban land uses takes place within a framework of ownership which has its own effects on development outcomes. There is both an economics and politics of 'mass' production and consumption, both were certainly in process of formation in interwar Britain. Whereas green belts and new towns were to become the best-known features to result from wartime planning, the greater innovatory challenges lay within the city itself.

  • 24 - The representation of the city in the visual arts

  • from Part V - Images
  • Edited by Martin Daunton, University of Cambridge
  • Book:
    The Cambridge Urban History of Britain
    Published online:
    28 March 2008
    Print publication:
    25 January 2001, pp 809-832

  • Summary

    Artist's responses to the city in the nineteenth and twentieth centuries have to be understood in terms of social and political issues and debates. The Victorian and Edwardian periods display a gradual transformation of attitudes to the city. The balance between celebration and despair could be said to shift decisively by the 1880s to a fairly bleak vision of urban alienation. This chapter considers a range of visual material produced in the Victorian and Edwardian period. As cities grew in extent and density, it became necessary to map the developments in various ways. Every map defines an area, explicitly or otherwise, by centring, orientation, categorical positives and categorical exclusions. The chapter explores the ways in which the river was used as a motif of the city's potential for good and evil. The 1850s saw the development of a form of genre painting that took as its subject the urban crowd.