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As a result of Napoleon's campaigns in Italy, Old Master art
flooded into Britain and its acquisition became an index of
national prestige. Maureen McCue argues that their responses to
these works informed the writing of Romantic period authors,
enabling them to forge often surprising connections between Italian
art, the imagination and the period's political, social and
commercial realities. Dr McCue examines poetry, plays, novels,
travel writing, exhibition catalogues, early guidebooks and private
experiences recorded in letters and diaries by canonical and
noncanonical authors, including Felicia Hemans, William Buchanan,
Henry Sass, Pierce Egan, William Hazlitt, Percy Shelley, Lord
Byron, Anna Jameson, Maria Graham Callcott and Samuel Rogers. Her
exploration of the idea of connoisseurship shows the ways in which
a knowledge of Italian art became a key marker of cultural standing
that was no longer limited to artists and aristocrats, while her
chapter on the literary production of post-Waterloo Britain traces
the development of a critical vocabulary equally applicable to the
visual arts and literature. In offering cultural, historical and
literary readings of the responses to Italian art by early
nineteenth-century writers, Dr McCue illuminates the important role
they played in shaping the themes that are central to our
understanding of Romanticism.
As a result of Napoleon's campaigns in Italy, Old Master art
flooded into Britain and its acquisition became an index of
national prestige. Maureen McCue argues that their responses to
these works informed the writing of Romantic period authors,
enabling them to forge often surprising connections between Italian
art, the imagination and the period's political, social and
commercial realities. Dr McCue examines poetry, plays, novels,
travel writing, exhibition catalogues, early guidebooks and private
experiences recorded in letters and diaries by canonical and
noncanonical authors, including Felicia Hemans, William Buchanan,
Henry Sass, Pierce Egan, William Hazlitt, Percy Shelley, Lord
Byron, Anna Jameson, Maria Graham Callcott and Samuel Rogers. Her
exploration of the idea of connoisseurship shows the ways in which
a knowledge of Italian art became a key marker of cultural standing
that was no longer limited to artists and aristocrats, while her
chapter on the literary production of post-Waterloo Britain traces
the development of a critical vocabulary equally applicable to the
visual arts and literature. In offering cultural, historical and
literary readings of the responses to Italian art by early
nineteenth-century writers, Dr McCue illuminates the important role
they played in shaping the themes that are central to our
understanding of Romanticism.
From the birth of the museum to the explosion of mass-produced
illustrated books, the Romantic period (c. 1770-1840) was a moment
of rapid change and fruitful experimentation in the fields of art
and literature alike. New advances in print production encouraged a
wider range of readers to engage with literary forms that opened a
path into the once aristocratic field of the visual arts. This
Companion captures the way recent engagements with visual studies
have reshaped how we approach and understand the boundaries between
print and visual culture in the period. It brings together 27
research-led chapters that offer a detailed account of the
productive, if sometimes tense, interactions between emergent forms
of intermedial expression that were redefining culture in the
Romantic period -- as they continue to do today.
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