The Englishness of English Art sounds like something a parish-pump little Englander might like to bang on about, but it is in fact the title of an arresting study by the German Jewish émigré Nikolaus Pevsner. “Neither English-born nor English-bred,” as he put it in his foreword, he nevertheless pinned down with startling precision the qualities that characterised English art and architecture: a rather twee preference for cuteness and compromise, for frills and fripperies.
This shouldn’t surprise us. Newcomers are typically better placed than natives when it comes to deciphering unwritten social codes. Unencumbered by textbook propaganda and excessive knowledge, the stranger’s-eye view very often has the merit of freshness, even originality. Bertolt Brecht dubbed this the Verfremdungseffekt, or alienation effect, from which Owen Hatherley takes his title.
