|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910818751103321 |
|
|
Autore |
Bullen J. B. |
|
|
Titolo |
Continental crosscurrents : British criticism and European art 1810-1910 / / J.B. Bullen |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Oxford ; ; New York : , : Oxford University Press, , 2005 |
|
|
|
|
|
|
|
ISBN |
|
1-383-00967-8 |
1-280-75656-X |
0-19-154190-7 |
1-4237-7078-1 |
|
|
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (308 pages) : illustrations |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Art, European - 19th century |
Art, European - 20th century |
Art criticism - Great Britain - History - 19th century |
Art criticism - Great Britain - History - 20th century |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Bibliographic Level Mode of Issuance: Monograph |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references and index. |
|
|
|
|
|
|
Sommario/riassunto |
|
"Continental Crosscurrents" is a series of case studies reflecting British attitudes to continental art during the nineteenth and the early twentieth centuries. It stresses the way in which the British went to the continent in their search for origins or their pursuit of sources of purity and originality. This cult of the primitive took many forms; it involved a reassessment of medieval German and Italian art and offered new ways of interpreting Venetian painting; it opened up new readings of architectural history and the 'discovery' of the Romanesque; it generated a debate about the value of returning to religious subjects in art and it raised the question of the relationship between modern art and Byzantine art in the early twentieth century. J. B. Bullen's original study presents some exciting findings. Few critics have noticed how much in advance of his time was Coleridge's passion for medieval art; Ruskin's debt in the "Stones of Venice" to Victor Hugo's "Notre Dame de Paris" has hardly been noted, and Browning's involvement with the debate on the morality of Christian art is explored more extensively |
|
|
|
|