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Continental Crosscurrents - British Criticism and European Art 1810-1910 (Hardcover, New)
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Continental Crosscurrents - British Criticism and European Art 1810-1910 (Hardcover, New)
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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 than previously.
Three chapters are devoted to the role of British criticism in
identifying the Romanesque style in architecture and
differentiating it from the Gothic. They trace the concept as it
arose in criticism at the beginning of the nineteenth century; its
employment in the remarkable buildings of Edmund Sharpe and Sara
Losh and the way in which it reached a climax in Waterhouse's
enigmatic choice of Romanesque for the Natural History Museum in
London. The collection concludes with two continental episodes from
the history of modernism. One is the explosive British reaction
tothe primitivism of Gauguin; the other involves the identifying of
one of the characters in D. H. Lawrence's novel Women in Love.
Curious evidence suggests that the malevolent figure of Loerke was
based on a German sculptor whom Lawrence met in Italy before the
First World War.
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