In the 1930s and 1940s, while the battles for modern art and modern society were being fought in Paris and Spain, it seemed to some a betrayal that John Betjeman and John Piper were in love with a provincial world of old churches and tea shops.

Alexandra Harris tells a different story: eclectically, passionately,
wittily, urgently, English artists were exploring what it meant to be alive at that moment and in England. They showed that “the modern”
need not be at war with the past: constructivists and conservatives could work together, and even the Bauhaus émigré László Moholy-Nagy was beguiled into taking photos for Betjeman’s nostalgic An Oxford University Chest.

A rich network of personal and cultural encounters was the backdrop for a modern English renaissance. This great imaginative project was shared by writers, painters, gardeners, architects, critics, and composers. Piper abandoned purist abstracts to make collages on the blustery coast; Virginia Woolf wrote in her last novel about a village pageant on a showery summer day. Evelyn Waugh, Elizabeth Bowen,
and the Sitwells are also part of the story, along with Bill Brandt and Graham Sutherland, Eric Ravilious and Cecil Beaton.