The Political Theory of Painting from Reynolds to Hazlitt: The Body of the Public
Yale University Press, 1. jan. 1995 - 366 sider
What is the function of painting in a commercial society? John Barrell discusses how British artists and writers of the late eighteenth and early nineteenth centuries, including Sir Joshua Reynolds, William Blake, and James Barry attempted to answer this question. His provocative and illuminating book offers a new perspective on both art criticism and eighteenth-century British culture.
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INTRODUCTION A REPUBLIC OF TASTE I
the scope of the book 7 The discourse
republic of taste 73 Painting and public virtue 18
the history of painting 33 Theories
SIR JOSHUA REYNOLDS
A BLAKE DICTIONARY
able abstract according action appear argues argument artist attempt attention Barry Barry's beauty become believed Blake body Britain central character citizen civic claim clear common concerned consider course criticism customs described determined discourse distinction divided effect entirely epic equally essential example exhibit expression fact figures function Fuseli genius genres give Greek Hazlitt human humanist idea ideal images imagination imitation individual interest Italy kind labour least lectures less liberal means mechanical mind moral nature never notion objects offers opinion original painter painting particular passions perfect perform picture political possible principle produced Raphael reason recognise regarded relation representation represented republic republic of taste result Reynolds Reynolds's rules seems sense Shaftesbury simply social society spirit style suggest task taste theory thing tion traditional true understanding uniformity universal variety various virtue vision writings