British Romanticism and the Reception of Italian Old Master by Maureen McCue

By Maureen McCue

due to Napoleon’s campaigns in Italy, outdated grasp artwork flooded into Britain and its acquisition grew to become an index of nationwide status. Maureen McCue argues that their responses to those works educated the writing of Romantic interval authors, permitting them to forge usually magnificent connections among Italian paintings, the mind's eye and the period’s political, social and advertisement realities. Dr McCue examines poetry, performs, novels, shuttle writing, exhibition catalogues, early guidebooks and personal reviews recorded in letters and diaries through canonical and noncanonical authors, together with Felicia Hemans, William Buchanan, Henry Sass, Pierce Egan, William Hazlitt, Percy Shelley, Lord Byron, Anna Jameson, Maria Graham Callcott and Samuel Rogers. Her exploration of the belief of connoisseurship indicates the ways that an information of Italian paintings grew to become a key marker of cultural status that was once now not restricted to artists and aristocrats, whereas her bankruptcy at the literary construction of post-Waterloo Britain strains the improvement of a serious vocabulary both acceptable to the visible arts and literature. In supplying cultural, old and literary readings of the responses to Italian artwork via early nineteenth-century writers, Dr McCue illuminates the real function they performed in shaping the topics which are primary to our realizing of Romanticism.

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