Abstract

The opening of the Great Exhibition in May 1851 corresponded to the birth of a new culture of the manufactured object. In spite of its official aim to celebrate British industrial power, the Exhibition also brought together many works of art, including objects from Antiquity which were apparently remote from the preoccupations of modern Victorian Britain. And yet, throughout the second half of the 19th century, Antiquity seemed more and more bound to modernity. This paper will focus on the links between the art object and the commodity thanks to the many ekphraseis in the official exhibition catalogues. From the 1860s onwards, the Aesthetes began to show a similar interest in beautiful objects from Antiquity and other periods, while claiming at the same time to be modern stylistic craftsmen. Our aim will thus be to show how technè and poïesis, production and poetics were seen to interact through the presentation of the object as subject, as a work of art, beyond any material, moral or commercial concerns.