By Maureen McCue

ISBN-10: 1409468321

ISBN-13: 9781409468325

due to Napoleon’s campaigns in Italy, previous grasp paintings flooded into Britain and its acquisition grew to become an index of nationwide status. Maureen McCue argues that their responses to those works trained the writing of Romantic interval authors, permitting them to forge usually astonishing connections among Italian paintings, the mind's eye and the period’s political, social and advertisement realities. Dr McCue examines poetry, performs, novels, go back and forth writing, exhibition catalogues, early guidebooks and personal reports recorded in letters and diaries by way of 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 assumption of connoisseurship exhibits the ways that a data of Italian paintings grew to become a key marker of cultural status that used to be now not constrained to artists and aristocrats, whereas her bankruptcy at the literary construction of post-Waterloo Britain lines the advance of a serious vocabulary both appropriate to the visible arts and literature. In delivering cultural, ancient and literary readings of the responses to Italian paintings via early nineteenth-century writers, Dr McCue illuminates the real position they performed in shaping the topics which are principal to our realizing of Romanticism.

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