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Antiquity, Theatre, and the Painting of Henry Fuseli (Hardcover)
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Antiquity, Theatre, and the Painting of Henry Fuseli (Hardcover)
Series: Classical Presences
Expected to ship within 12 - 17 working days
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The rediscovery of Pompeii and Herculaneum in the eighteenth
century challenged European assumptions about ancient life; just as
influential, if quieter, was the revolution caused by translations
of Greek tragedy. Art of the mid-eighteenth to early nineteenth
centuries dealt with the violence and seeming irrationality of
tragic action as an account of the rituals and beliefs of a foreign
culture, worshipping strange gods and enacting unfamiliar customs.
The result was a focus on the radical difference of the past which,
however, was thought to still have something to teach us: not how
to live better, but that we live differently and should allow
others to do so as well. In recognizing tragedy as an alien
cultural form, modern Europe recognized its own historical status
as one culture among many. Naturally, this insight was resisted.
Greek tragedy was seldom performed. In painting, it lived a shadow
existence alongside more didactic subject matter, emerging
explicitly only in a corpus of wash drawings by Anglo-Swiss artist
Henry Fuseli (1741-1825), and an international circle of artists
active in Rome in the 1770s. In this volume, Pop examines Fuseli as
exemplary of a pluralist classicism, paying especial attention to
his experiments with moral and aesthetic conventions in the more
private medium of drawing. He analyses this broad view of culture
through the lens of Fuseli's life and work; his remarkable
acquaintances Emma Hamilton, Erasmus Darwin, and Mary
Wollstonecraft, and the great theorists of art and morals to whom
he responded, Jean-Jacques Rousseau, Johann Joachim Winckelmann,
and David Hume, play prominent roles in this investigation of how
antiquity became modern.
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