Continental Crosscurrents: British Criticism and European Art 1810-1910

Hardcover | August 25, 2005

byJ. B. Bullen

not yet rated|write a review
Continental Crosscurrents is a series of case studies reflecting British attitudes to continental art during the nineteenth and the early twentieth centuries. It stresses the way in which the British went to the continent in their search for origins or their pursuit of sources of purity andoriginality. This cult of the primitive took many forms; it involved a reassessment of medieval German and Italian art and offered new ways of interpreting Venetian painting; it opened up new readings of architectural history and the 'discovery' of the Romanesque; it generated a debate about thevalue of returning to religious subjects in art and it raised the question of the relationship between modern art and Byzantine art in the early twentieth century.J. B. Bullen's original study presents some exciting findings. Few critics have noticed how much in advance of his time was Coleridge's passion for medieval art; Ruskin's debt in the Stones of Venice to Victor Hugo's Notre Dame de Paris has hardly been noted, and Browning's involvement with thedebate on the morality of Christian art is explored more extensively than previously. Three chapters are devoted to the role of British criticism in identifying the Romanesque style in architecture and differentiating it from the Gothic. They trace the concept as it arose in criticism at thebeginning of the nineteenth century; its employment in the remarkable buildings of Edmund Sharpe and Sara Losh and the way in which it reached a climax in Waterhouse's enigmatic choice of Romanesque for the Natural History Museum in London. The collection concludes with two continental episodes fromthe history of modernism. One is the explosive British reaction to the primitivism of Gauguin; the other involves the identifying of one of the characters in D. H. Lawrence's novel Women in Love. Curious evidence suggests that the malevolent figure of Loerke was based on a German sculptor whomLawrence met in Italy before the First World War.

Pricing and Purchase Info

$242.01 online
$315.00 list price (save 23%)
In stock online
Ships free on orders over $25

From the Publisher

Continental Crosscurrents is a series of case studies reflecting British attitudes to continental art during the nineteenth and the early twentieth centuries. It stresses the way in which the British went to the continent in their search for origins or their pursuit of sources of purity andoriginality. This cult of the primitive took m...

Barrie Bullen was an undergraduate at Cambridge, Junior Research Fellow at Oxford and is now Professor of English at the University of Reading. He has had a long-standing interest in interdisciplinary studies and his books include The Expressive Eye: Vision and Perception in the Work of Thomas Hardy (OUP 1986), The Myth of the Renaiss...

other books by J. B. Bullen

Korean from Zero! 1: Master the Korean Language and Hangul Writing System with Integrated Workbook…
Korean from Zero! 1: Master the Korean Language and Han...

Paperback|May 1 2014

$30.56 online$32.50list price(save 5%)
Korean From Zero! 2
Korean From Zero! 2

Paperback|Nov 20 2015

$23.20 online$23.50list price
see all books by J. B. Bullen
Format:HardcoverDimensions:312 pages, 8.5 × 5.43 × 0.88 inPublished:August 25, 2005Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0198186916

ISBN - 13:9780198186915

Look for similar items by category:

Customer Reviews of Continental Crosscurrents: British Criticism and European Art 1810-1910

Reviews

Extra Content

Table of Contents

Introduction1. The English Romantics and Early Italian Art2. The Romanesque Revival in Britain 1800-1840: 13. The Romanesque Revival in Britain 1800-1840: 24. Robert Browning's 'Pictor Ignotus' and Continental 'Christian' Art5. Whoring after Colour: Venetian Painting in England6. Ruskin's Venice and Victor Hugo's Paris7. Alfred Waterhouse's German Romanesque 'Temple of Nature': The Natural History Museum8. The Last Degradation of Art: Gauguin, the British, and French Polynesia9. Byzantinism and British Modernism10. D.H. Lawrence, German Sculpture, and Women in Love