Landscape Between Ideology and the Aesthetic

Marxist Essays on British Art and Art Theory, 1750-1850
Erscheinungsjahr 2016
ISBN: 978-90-04-26900-2
Verlag: Brill

Buch, Englisch, Band 135, 502 Seiten, Format (B × H): 159 mm x 241 mm, Gewicht: 871 g

Reihe: Historical Materialism Book Series

At a time of growing interest in relations between Marxism and Romanticism, Andrew Hemingway’s essays on British art and art theory reopen the question of Romantic painting’s ideological functions and, in some cases, its critical purchase. Half the volume exposes the voices of competing class interests in aesthetics and art theory in the tumultuous years of British history between the American Revolution and the 1832 Parliamentary Reform Act. Half offers new perspectives on works by some of the most important landscape painters of the time: John Constable, J.M.W. Turner, John Crome, and John Sell Cotman. Four essays are hitherto unpublished, and the remainder have been updated and in several cases substantially rewritten for this volume.

Autoren/Hrsg.

Hemingway, Andrew

Fachgebiete

• Geisteswissenschaften Philosophie Ästhetik
• Sozialwissenschaften Politikwissenschaft Politische Ideologien Marxismus, Kommunismus
• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: 19. Jahrhundert
• Geisteswissenschaften Kunst Kunst, allgemein Kunsttheorie, Kunstphilosophie

Inhaltsverzeichnis

List of Illustrations. vii
Acknowledgements. xi
Sources and Occasions. xii

Introduction: Theoretical Apologia. 1

Aesthetics and Ideology

1 The Science of Taste in the Eighteenth Century: Philosophical Criticism and the Scottish Historical School. 41
2 Academic Theory versus Association Aesthetics: The Ideological Forms of a Conflict of Interests in the Early Nineteenth Century. 86
3 Bourgeois Critiques of the Monopoly of Taste. 114
4 Genius, Gender, and Progress: Benthamism and the Arts in the 1820s. 150
5 Cultural Philanthropy and the Invention of the Norwich School. 181

Landscape and Ideology

6 Meaning in Cotman’s Norfolk Subjects. 217
7 Sheep as a Pictorial Motif: Pastoral and Counter-Pastoral. 246
8 Artisanal Worldview in the Paintings of John Crome. 297
9 John Crome’s ‘Local Scenery’: Iconography and the Ideology of the Picturesque. 336
10 Constable and his Audience: An Argument for Iconography. 387
11 The Field of Waterloo Exposed: Turner, Byron, and the Politics of Reaction. 420

Coda: Regarding Art History. 459
Bibliography. 464
Index. 492

Über Autor(innen)

Andrew Hemingway is Emeritus Professor in History of Art at University College London. His books include Landscape Imagery and Urban Culture in Early Nineteenth-Century Britain (Cambridge University Press, 1992) and The Mysticism of Money: Precisionist Painting and Machine Age America (Periscope Publishing, 2013).