Bann setephen (1 risultati)
Crossing the Channel: British and French Painting in the Age of Romanticism
Noon, Patrick - Author; Bann, Setephen; Brown, David Blayney; Meredith, Rachel; Riding, Christine, and Watteau, Marie - Contributors
Lingua: Inglese
Editore: The Metropolitan Museum of Art - In Association with Tate Publishing, New York, 2003
- Brossura
- Prima edizione
Da: Don's Book Store, Albuquerque, NM, U.S.A.Don's Book Store
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Molto buono
EUR 13,83
Spedizione gratuitaSpedito in U.S.A.Quantità: 1 disponibili
Trade Paperback. Condizione: Very Good. First Edition. 290 Pages Indexed. Nice condition with a nearly flawless interior text and illustration pages. The Exhibition began at Tate Britain, London and ran 5 February - May 2003. Then touring to The Minneapolis Institute of Arts, Minneaolis 8 June - 7 September 2003. The exhibition…was at The Metropolitan Museum of Art, New York 7 October 2003 to 4 January 2004. This exhibition explores the extraordinary network of cultural interchange that developed between Britain and France in the three or so decades following the end, in 1815, of their long war - a conflict which had raged with only occasional respites since the early 1790s. Sustained hostility in politics was to give way to mutual admiration in the arts. Focusing primarily on painting, the exhibition traces both the impact of French Romanticism on British art, including through the sensational display in London of Theodore Cericault's Raft of the Medusa in 1820. (See Cover). Perhaps the range and force of Britain's cultural impact on France in these years will come as some surprise. Though Lord Byron's literary influence on Eugene Delacroix is well known, the prodigious consumption of Walter Scott in France may be less understood; and while John Constable's success at the Paris Salon exhibition of 1824, and his admiration by Delacroix, forms part of our standard histories of British art. The web of connections and its expression through French landscape painting through the 1830s and beyond, may prove to be one of this exhibition's most significant revelations. Though there had certainly been moments of productive cross-channel interchange in the previous century, they were readily undermined by political tensions and usually short-lived. The kind of sustained cultural dialogue surveyed by this exhibition was unprecedented and would furnish a model for subsequent generations.
