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摘要
摘要
During the nineteenth century, what had been British hostility toward French art shifted toward acceptance and even enthusiasm, a change that transformed British art. This book charts the impact of French culture on British art and, to a lesser extent, the influence of British art in France during the nineteenth century. Thoroughly original, it is the first full overview of artistic and cultural relations between the two most important European nations of the period.
Extending its reach beyond Romanticism and Impressionism, the book offers an encyclopedic account of all aspects of the British reception of French art in the nineteenth century. It demonstrates in detail how the rapprochement between French and British art over the course of the century effected fundamental and lasting change throughout the British art world. This is an essential volume for anyone with an interest in the art of Britain and France and in the political, social, economic, and cultural contexts in which art is created.
Published for the Paul Mellon Centre for Studies in British Art
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Edward Morris was until his retirement Curator of Fine Art, National Museums and Galleries on Merseyside.
评论 (2)
Choice 评论
The relationship between Britain and France is a vexed one, with moments of strife and reconciliation following swiftly one after the other. The 19th century was no different, and as a consequence, the visual arts are shot through with signs of this mutable relationship. Morris's impressive book is nothing short of encyclopedic in its exploration of the various nexuses of contact and repulsion between the British and the French art worlds over the course of the century. The study is organized topically and chronologically, including chapters on topics such as the training of artists, artistic patronage, international exhibitions, political and nationalistic developments, and art criticism. Morris discusses both the reception in Britain of French artists, including Scheffer, Legros, and Rodin; and the reception in France of British artists, including Bonington, Constable, and Turner. In spite of the copious detail offered in each chapter, the reader is carried forward by the overarching thesis of the book, namely, that although an influential critic like Ruskin considered French art a corrupting influence, the influence of French art in Britain increased as the 19th century unfolded. ^BSumming Up: Highly recommended. All levels. M. T. Simms California State University, Long Beach
《图书馆杂志》(Library Journal )书评
Today, French art so dominates 19th-century art history studies that it is surprising to discover how poorly received it was in Great Britain during that period. Morris, formerly a curator at the Walker and Lady Lever Art Galleries in Liverpool, England, has done an outstanding job of rendering a complete and objective picture of this previously unexplored subject. The British regarded French art and artists with suspicion because many of the best French artists were associated with political radicalism and the belief that French art was immoral, or at best lacking in higher sentiment. Those French artists who gained popularity in Britain were for the most part second-rate painters largely forgotten today (though Romantic art and the Barbizon School made inroads later in the century). French art training, alternately, was acknowledged as the best in the world, and many British artists spent time studying in France. Featuring 152 black-and-white illustrations, this original history is recommended for large art collections.-Amy K. Weiss, Univ. of California Lib., Santa Barbara (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.