Classical Body in Romantic Britain
★★★★★
★★★★★
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Regular price
€50.99
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19th century
A01=Cora Gilroy-Ware
Age Group_Uncategorized
Age Group_Uncategorized
antiquity
art history
Author_Cora Gilroy-Ware
automatic-update
british art
Category1=Non-Fiction
Category=ACVC
Category=AFK
Category=AGA
Category=AGH
classical body
COP=United Kingdom
Delivery_Delivery within 10-20 working days
eq_art-fashion-photography
eq_isMigrated=2
eq_non-fiction
feminine
georgian england
golden age
greco-roman
john keats
Language_English
neoclassical
PA=Available
painting
politicized image
Price_€20 to €50
PS=Active
reevaluation
royal academy
sculpture
sensuality in art
softlaunch
victorian england
Product details
- ISBN 9781913107062
- Dimensions: 171 x 286mm
- Publication Date: 14 Apr 2020
- Publisher: Paul Mellon Centre for Studies in British Art
- Publication City/Country: GB
- Product Form: Hardback
- Language: English
Delivery/Collection within 10-20 working days
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A radical, lively departure from received notions about art of the Romantic period
For many, the term “neoclassicism” has come to imply discipline, order, restraint, and a certain myopia. Leaving the term behind, this book radically challenges enduring assumptions about the art produced from the late 18th century to the early Victorian period, casting new light on appropriations of the classical body by British artists. It is the first to foreground the intersections of gender, race, and class in discussions of British visual classicism, laying bare artists’ alternately politicizing and emphatically sensual engagements with Greco-Roman art. Rather than rely exclusively on subsequent scholarship, the book takes up the poet John Keats (1795–1821) as a theoretical framework. Eschewing the “Golden Age” narrative, which sees J. M. W. Turner (1775–1851) as the pinnacle of the period’s artistic achievement, the book examines overlooked artists, such as Henry Howard (1769–1847) and John Graham Lough (1798–1876). The result is a fresh account of underappreciated works of British painting and sculpture.
Distributed for the Paul Mellon Centre for Studies in British Art
For many, the term “neoclassicism” has come to imply discipline, order, restraint, and a certain myopia. Leaving the term behind, this book radically challenges enduring assumptions about the art produced from the late 18th century to the early Victorian period, casting new light on appropriations of the classical body by British artists. It is the first to foreground the intersections of gender, race, and class in discussions of British visual classicism, laying bare artists’ alternately politicizing and emphatically sensual engagements with Greco-Roman art. Rather than rely exclusively on subsequent scholarship, the book takes up the poet John Keats (1795–1821) as a theoretical framework. Eschewing the “Golden Age” narrative, which sees J. M. W. Turner (1775–1851) as the pinnacle of the period’s artistic achievement, the book examines overlooked artists, such as Henry Howard (1769–1847) and John Graham Lough (1798–1876). The result is a fresh account of underappreciated works of British painting and sculpture.
Distributed for the Paul Mellon Centre for Studies in British Art
Cora Gilroy-Ware is a scholar, artist, and curator currently working with Isaac Julien CBE RA.
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