This collection of essays stems from the conference 'Internationalism and the Arts: Anglo-European Cultural Exchange at the Fin de Siècle' held at Magdalene College, Cambridge, in July 2006. The growth of internationalism in Europe at the fin de siècle encouraged confidence in the possibility of peace. A wartorn century later, it is easy to forget such optimism. Flanked by the Franco-Prussian war and the First World War, the late nineteenth and early twentieth centuries were marked by rising militarism. Themes of national consolidation and aggression have become key to any analysis of the period. Yet despite the drive towards political and cultural isolation, transnational networks gathered increasing support. This book examines the role played by artists, writers, musicians and intellectuals in promoting internationalism. It explores the range of individuals, media and movements involved, from cosmopolitan characters such as Walter Sickert and Henri La Fontaine, through internationalist art societies, to periodicals, performance, and the mobility of the Arts and Crafts Movement. The discussion takes in the geographical breadth of Europe, incorporating Belgium, Bohemia, Britain, France, Germany, Hungary, Italy, Norway, Poland, Russia and Slovakia. Drawing on the work of scholars from across Europe and America, the collection makes a statement about the complexity of European identities at the fin de siècle, as well as about the possibilities for interdisciplinary research in our own era.

Belgium was a major hub for transnational movements. By taking this small and yet significant European country as a focal point, the book critically examines major issues in modern history, including nationalism, colonial expansion, debates on the nature of international relations and campaigns for political and social equality. Now available in paperback, this study explores an age in which many groups and communities – from socialists to scientists – organised themselves across national borders. The timeframe covers the rise of international movements and associations before the First World War, the conflagration of 1914 and the emergence of new actors such as the League of Nations. The book acknowledges the changing framework for transnational activism, including its interplay with domestic politics and international institutions. By tracing international movements and ideas, the book aims to reveal and explain the multifarious and sometimes contradictory nature of internationalism.

Foreign Artists and Communities in Modern Paris, 1870-1914 examines Paris as a center of international culture that attracted artists from Western and Eastern Europe, Asia and the Americas during a period of burgeoning global immigration. Sixteen essays by a group of emerging and established international scholars - including several whose work has not been previously published in English - address the experiences of foreign exiles, immigrants, students and expatriates. They explore the formal and informal structures that permitted foreign artists to forge connections within and across national communities and in some cases fashion new, transnational identities in the City of Light. Considering Paris from an innovative global perspective, the book situates both important modern artists - such as Edvard Munch, Sonia Delaunay-Terk, Marc Chagall and Gino Severini - and lesser-known American, Czech, Italian, Polish, Welsh, Russian, Japanese, Catalan, and Hungarian painters, sculptors, writers, dancers, and illustrators within the larger trends of international mobility and cultural exchange. Broadly appealing to historians of modern art and history, the essays in this volume characterize Paris as a thriving transnational arts community in which the interactions between diverse cultures, peoples and traditions contributed to the development of a hybrid and multivalent modern art.

Charting the period that extends from the 1860s to the 1940s, this volume offers fresh perspectives on Aestheticism and Modernism. By acknowledging that both movements had a passion for the ‘new’, it goes beyond the alleged divide between Modernism and its predecessors. Rather than reading the modernist credo, ‘Make it New!’, as a desire to break away from the past, the authors of this book suggest reading it as a continuation and a reappropriation of the spirit of the ‘New’ that characterizes Aestheticism. Basing their arguments on recent reassessments of Aestheticism and Modernism and their articulation, contributors take up the challenge of interrogating the connections, continuities, and intersections between the two movements, thus revealing the working processes of cultural and aesthetic change so as to reassess the value of the new for each. Attending to well-known writers such as Waugh, Woolf, Richardson, Eliot, Pound, Ford, Symons, Wilde, and Hopkins, as well as to hitherto neglected figures such as Lucas Malet, L.S. Gibbon, Leonard Woolf, or George Egerton, they revise assumptions about Aestheticism and Modernism and their very definitions. This collection brings together international scholars specializing in Aestheticism or Modernism who push their analyses beyond their strict period of expertise and take both movements into account through exciting approaches that borrow from aesthetics, philosophy, or economics. The volume proposes a corrective to the traditional narratives of the history of Aestheticism and Modernism, revitalizing definitions of these movements and revealing new directions in aestheticist and modernist studies.

An Age of Neutrals provides a pioneering history of neutrality in Europe and the wider world between the Congress of Vienna and the outbreak of the First World War. The 'long' nineteenth century (1815–1914) was an era of unprecedented industrialization, imperialism and globalization; one which witnessed Europe's economic and political hegemony across the world. Dr Maartje Abbenhuis explores the ways in which neutrality reinforced these interconnected developments. She argues that a passive conception of neutrality has thus far prevented historians from understanding the high regard with which neutrality, as a tool of diplomacy and statecraft and as a popular ideal with numerous applications, was held. This compelling new history exposes neutrality as a vibrant and essential part of the nineteenth-century international system; a powerful instrument used by great and small powers to solve disputes, stabilize international relations and promote a variety of interests within and outside the continent.

The Ghent congress on town planning was the first genuinely international conference to address all aspects of civic life and design. Attended by representatives of 22 governments and 150 cities, as well as by hundreds of architects, planners, politicians, and scientists, it marked the culmination of a series of events which helped to form the world of town planning at the start of the twentieth century. Ghent illustrates three key themes for the history of town planning. First, the transactions of the congress include papers from some of the most significant theorists and practitioners of the period, such as Patrick Abercrombie, Augustin Rey, Raymond Unwin, and Joseph Stübben. Secondly, the congress as a whole reflects just how global the business of town planning had become by 1913: papers and exhibits included studies of colonial projects as well as European designs. The delegates themselves provide wonderful evidence of a transnational process at work. Finally, the text brilliantly illuminates the way in which town planning was critically linked to other reformist movements of the era. The whole event, like the International Union of Cities that it spawned, was the product of the peace movement. Even as war draw nearer, the International Union was being spoken of as a future world government. Significantly, one of the organisers of the event – Henri La Fontaine - won the Nobel Peace Prize in 1913. The Premier Congrès international et exposition comparée des villes is a major publication, but it is one that is now almost impossible to obtain. This republication, a century after this seminal event, will be considerable interest not only to those who work on town-planning, but also transnational historians and writers on the peace movement more generally.

Chronicling the emergence of an international society in the 1920s, Daniel Gorman describes how the shock of the First World War gave rise to a broad array of overlapping initiatives in international cooperation. Though national rivalries continued to plague world politics, ordinary citizens and state officials found common causes in politics, religion, culture and sport with peers beyond their borders. The League of Nations, the turn to a less centralized British Empire, the beginning of an international ecumenical movement, international sporting events and audacious plans for the abolition of war all signaled internationalism's growth. State actors played an important role in these developments and were aided by international voluntary organizations, church groups and international networks of academics, athletes, women, pacifists and humanitarian activists. These international networks became the forerunners of international NGOs and global governance.