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Effie Gray, a beautiful and intelligent young socialite, rattled the foundations of England's Victorian age. Married at nineteen to John Ruskin, the leading art critic of the time, she found herself trapped in a loveless, unconsummated union after Ruskin rejected her on their wedding night. On a trip to Scotland she met John Everett Millais, Ruskin's protégé, and fell passionately in love with him. In a daring act, Effie left Ruskin, had their marriage annulled and entered into a long, happy marriage with Millais. Suzanne Fagence Cooper has gained exclusive access to Effie's previously unseen letters and diaries to tell the complete story of this scandalous love triangle. In Cooper's hands, this passionate love story also becomes an important new look at the work of both Ruskin and Millais with Effie emerging as a key figure in their artistic development. Effie is a heartbreakingly beautiful book about three lives passionately entwined with some of the greatest paintings of the pre-Raphaelite period.
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Venice holds a unique place in literary and cultural history. Barnes looks at the themes of war, occupation, resistance and fascism to see how the political background has affected the literary works that have come out of this great city. He focuses on key British and American writers, including Byron, Ruskin, Pound and Eliot.
Venice was just recovering from the 1849 resistance against the Austrians when John Ruskin took his young wife Effie there. Each week Effie wrote to her mother in Perth, telling her of all their doings, and giving a lively pitcure of Venice, and of how people travelled the Continent at the time. The Ruskins returned to London for only eighteen months before setting out for Venice again for the winter of 1851 - 2, and the two series of Effie's letters written on their journeys and while they were there form a complete story. John Ruskin emerges not as the majestic figure of Victorian art and socialolgy, but as a young husband suffering the pangs and joys of marriage - a marriage already crumbling.
Women, Art, and Power?seven landmark essays on women artists and women in art history?brings together the work of almost twenty years of scholarship and speculation.
In this journey through the work of artists and the writings of travelers who have been both smitten and repelled by the influence of Venice, Margaret Doody explores ways in which this is a city profoundly unlike any other on earth—and one that simultaneously unsettles and reveals many of our most deeply rooted cultural values.
John Julius Norwich’s A History of Venice has been dubbed “indispensable” by none other than Jan Morris. Now, in his second book on the city once known as La Serenissima, Norwich advances the story in this elegant chronicle of a hundred years of Venice’s highs and lows, from its ignominious capture by Napoleon in 1797 to the dawn of the 20th century. An obligatory stop on the Grand Tour for any cultured Englishman (and, later, Americans), Venice limped into the 19th century–first under the yoke of France, then as an outpost of the Austrian Hapsburgs, stripped of riches yet indelibly the most ravishing city in Italy. Even when subsumed into a unified Italy in 1866, it remained a magnet for aesthetes of all stripes–subject or setting of books by Ruskin and James, a muse to poets and musicians, in its way the most gracious courtesan of all European cities. By refracting images of Venice through the visits of such extravagant (and sometimes debauched) artists as Lord Byron, Richard Wagner, and the inimitable Baron Corvo, Norwich conjures visions of paradise on a lagoon, as enduring as brick and as elusive as the tides.
In To Forget Venice, Peg Boyers sets for herself and the reader a most improbable challenge. Venice is the site of several unforgettable years of her own adolescence, and remains the city she returns to year after year. It is also a place that is both adored and reviled by the speakers in this various and unconventionally polyphonic book of poems. Throughout the book, the voices we hear belong not only to imagined characters from literature, like the mother of Tadzio (from Death in Venice ), or the companion of Vladimir Illych Lenin, or the Victorian prophet John Ruskin and his wife Effie, but to wall moss, sand, andmost especiallya speaker who, at the age of thirteen, landed in Venice in 1965 and never quite recovered from the formative experiences that shaped her there. Ranging over the several stages of a life that features adolescent heartbreak and betrayal, marriage and children, friendship and loss, the book insistently addresses the speaker s desire to get to the bottom of her obsession with a place that has imprinted itself so indelibly on her consciousness. Intense and beautifully crafted, it is also a book of genuine grandeur, where transcendence and self-disgust clash to create a human life."
Arranged in the form of seven detailed walking tours through Venice, this literary companion provides an illuminating guide to the streets, palaces, churches, and canals that make up this exquisite city. Illustrations.