Visual arts in Britain between 1550 and 1650 have long been
considered part of the classical Italian Renaissance canon. Now a
distinguished group of scholars demonstrates that attitudes to
classical art were in fact somewhat ambivalent during this period
in Britain (or, as it is called poetically, Albion). For town halls
and funeral monuments, for paintings and theatrical works, British
artists, patrons, and builders made informed choices from the
classical vocabulary while continuing to work within systems and
circumstances quite distinct from those of classicism. The authors
focus on the ways that local influences, habits, and visual
sensibilities interacted with classicism and the work and methods
of such masters as Inigo Jones in the evolution of British art,
architecture, and literature in this era. Introduced and edited by
Lucy Gent, this handsome book was written by contributors who come
from the fields of history, art and architectural history, literary
criticism, and emblematics. The book consists of essays by Lisa
Jardine, Maurice Howard, Deborah Howard, Michael Bath, Paula
Henderson, Nigel Llewellyn, Susan Foister, Margaret Aston, Keith
Thomas, Christy Anderson, Ellen Chirelstein, Thomas Greene, Sasha
Roberts, Alice Friedman, Gloria Kury, and Catherine Belsey.
Published for the Paul Mellon Center for Studies in British Art
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