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Books > Arts & Architecture > History of art / art & design styles > 1600 to 1800
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Clarissa's Painter - Portraiture, Illustration, and Representation in the Novels of Samuel Richardson (Hardcover, New)
Loot Price: R3,223
Discovery Miles 32 230
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Clarissa's Painter - Portraiture, Illustration, and Representation in the Novels of Samuel Richardson (Hardcover, New)
Series: Oxford English Monographs
Expected to ship within 10 - 15 working days
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Samuel Richardson's novels have always been a particularly fertile
seam for literary study, and in recent years they have been the
subject of a whole range of different approaches, from the
political and feminist, to those concerned with formal questions
such as genre and epistolary technique. Richardson has also
attracted considerable interest from an interdisciplinary
perspective, with studies focusing on the pictorial and spatial
elements of his works, and the illustrations he commissioned for
Pamela. This extensively-illustrated monograph takes this approach
one step further, and looks at issues of visual and verbal
representation in Richardson from the perspective of
eighteenth-century portraiture.
Richardson first became conversant with the conventions of
contemporary portraiture in the wake of the phenomenal success of
Pamela. It was then that he commissioned his first portrait, and
became involved in the process of producing illustrations for the
lavish sixth edition of the novel. This study makes the case that
these two events combined to give Richardson a new vocabulary for
the depiction of individual character, and the articulation of
power, affection, and control within the family, and between men
and women. We can see the first signs of this in Pamela II, which
is so often dismissed and so little read, but it reaches its full
maturity in the rich three-dimensionality of Clarissa. Moreover it
is Richardson's use of the conventions of contemporary portraiture
in Sir Charles Grandison that explains many of the tensions and
inconsistencies within that text, and makes the reader's response
to Richardson's 'good man' so ambivalent.
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