Writings of James Barry and the Genre of History Painting, 1775-1809
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A01=Liam Lenihan
academy
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Adelphi Series
Author_Liam Lenihan
Barry's Account
Barry's Inquiry
Barry's Lectures
Barry's Letter
Barry's Writings
barrys
Barry’s Account
Barry’s Inquiry
Barry’s Lectures
Barry’s Letter
Barry’s Writings
British aesthetic philosophy
Category=AFC
Category=AGA
Category=AGB
classical tradition reinterpretation
Critical Nicety
dilettanti
Dilettanti Society
eighteenth-century art theory
Enlightenment visual culture
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fuseli
Fuseli's Milton Gallery
Fuseli’s Milton Gallery
George Stubbs
henry
History Painting
interdisciplinary art historical analysis
LDS
letter
Literary Sublime
Mary Wollstonecraft
Milton Gallery
Miltonic Sublime
Mrs Mason
Paradise Lost
political symbolism in painting
royal
Royal Academy
Royal Academy pedagogy
series
society
Torso Belvedere
Unrestrained Indulgence
Wollstonecraft's Critique
Wollstonecraft's Reading
Wollstonecraft's Vindication
Wollstonecraft’s Critique
Wollstonecraft’s Reading
Wollstonecraft’s Vindication
Young Men
Product details
- ISBN 9781409467526
- Weight: 612g
- Dimensions: 156 x 234mm
- Publication Date: 10 Jan 2014
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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Examining the literary career of the eighteenth-century Irish painter James Barry, 1741-1806 through an interdisciplinary methodology, The Writings of James Barry and the Genre of History Painting, 1775-1809 is the first full-length study of the artist’s writings. Liam Lenihan critically assesses the artist’s own aesthetic philosophy about painting and printmaking, and reveals the extent to which Barry wrestles with the significant stylistic transformations of the pre-eminent artistic genre of his age: history painting. Lenihan’s book delves into the connections between Barry’s writings and art, and the cultural and political issues that dominated the public sphere in London during the American and French Revolutions. Barry’s writings are read within the context of the political and aesthetic thought of his distinguished friends and contemporaries, such as Edmund Burke, his first patron; Joshua Reynolds, his sometime friend and rival; Mary Wollstonecraft and William Godwin, with whom he was later friends; and his students and adversaries, William Blake and Henry Fuseli. Ultimately, Lenihan’s interdisciplinary reading shows the extent to which Barry’s faith in the classical tradition in general, and the genre of history painting in particular, is permeated by the hermeneutics of suspicion. This study explores and contextualizes Barry’s attempt to rethink and remake the preeminent art form of his era.
Liam Lenihan was National University of Ireland Centennial Postdoctoral Fellow in Irish Studies from 2009 to 2011. He teaches English literature and History of Art at University College Cork.
