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Thomas Cole (1801-1848) is widely acknowledged as the founder of American landscape painting. Born in England, Cole emigrated in 1818 to the United States, where he transformed British and continental European traditions to create a distinctive American idiom. He embraced the picturesque, which emphasized touristic pleasures, and the sublime, an aesthetic category rooted in notions of fear and danger. Including striking paintings and a broad range of works on paper, from watercolors to etchings, mezzotints, aquatints, engravings, and lithographs, this book explores the trans-Atlantic context for Cole's oeuvre. These works chart a history of landscape aesthetics and demonstrate the essential role of prints as agents of artistic transmission. The authors offer new interpretations of work by Cole and the British artists who influenced him, including J.M.W. Turner and John Constable, revealing Cole's debt to artistic traditions as he formulated a profound new category in art. the American sublime.
The Companion to Romanticism is a major introductory survey from an international galaxy of scholars writing new pieces, specifically for a student readership, under the editorship of Duncan Wu.
This book considers the relationships between British Romantic-era novelist, poet and writer of educational works for children, Charlotte Smith (1749-1806), and a number of visual artists of the eighteenth century with whom she had connections. By exploring these associations with artists such as George Smith of Chichester, George Romney, James Northcote, John Raphael Smith and Emma Smith, the book demonstrates how the artwork of these individual artists influenced Charlotte Smith’s literary corpus. It also shows a mutual influence: how the literary works of Charlotte Smith impacted the corpora of these artists. This study uncovers information which was not heretofore known regarding these artists: it reveals a mistaken attribution of a sketch which accompanied the second volume of Smith’s Elegiac Sonnets (1797) and sheds light on a print, held by the British Museum, which was previously shrouded in mystery. The artworks also enhance the existing scholarly knowledge about Smith’s biography. This book analyses the tropes and motifs employed by Smith’s artist-associates in the context of the popular aesthetics of the period and undertakes parallel readings between such visual artistry and Smith’s literary works. The book deliberates on how Smith utilises these aesthetics as narrative devices, making use of the tropes of the picturesque, the sublime and the beautiful, as well as that of a national British heraldic artwork, in order to produce and enhance meaning in her literary oeuvre. Thus, Smith uses aesthetic structures as vehicles for social critique, commentating on political, gender, moral and class concerns in addition to enhancing the perceived authenticity of her own artistry. The scholarship aims to correct the common misperception that Smith was a lonely marginal figure of Romanticism and instead asserts her central position in an enormous network of key artistic figures of British Romanticism.
Winner of the Gabrielle Roy Prize in English and the Raymond Klibansky Prize, The Picturesque and the Sublime is a cultural history of two hundred years of nature writing in Canada, from eighteenth-century prospect poems to contemporary encounters with landscape. Arguing against the received wisdom (made popular by Northrop Frye and Margaret Atwood) that Canadian writers view nature as hostile, Susan Glickman places Canadian literature in the English and European traditions of the sublime and the picturesque. Glickman argues that early immigrants to Canada brought with them the expectation that nature would be grand, mysterious, awesome – even terrifying – and welcomed scenes that conformed to these notions of sublimity. She contends that to interpret their descriptions of nature as "negative," as so many critics have done, is a significant misunderstanding. Glickman provides close readings of several important works, including Susanna Moodie's "Enthusiasm," Charles G.D. Roberts's Ave, and Paulette Jiles's "Song to the Rising Sun," and explores the poems in the context of theories of nature and art. Instead of projecting backward from a modernist perspective, Glickman reads forward from the discovery of landscape as a legitimate artistic subject in seventeenth-century England and argues that picturesque modes of description, and a sublime aesthetic, have governed much of the representation of nature in this country. Susan Glickman is a poet living in Toronto. She is the author of Complicity, The Power to Move, Henry Moore's Sheep and Other Poems, and Hide and Seek.
Business leader and arts patron Sir Edwin A. G. Manton (1909-2005) and his wife Florence, Lady Manton, assembled an outstanding collection of 18th- and 19th-century British art. A gift to the Clark Art Institute from the Manton Foundation in 2007, their collection features more than three hundred oil paintings, watercolors, drawings, and prints, including works by John Constable, J. M. W. Turner, Thomas Gainsborough, and William Blake. In a series of wide-ranging essays, prominent scholars consider the major works and themes in the collection, relating them to larger issues within the field of British studies. Individual essays are devoted to Constable's oil sketches, cloud studies, and magisterial painting The Wheat Field; the growth of the watercolor tradition; print portfolios and narrative series; Thomas Rowlandson's satiric drawings; and Gainsborough's use of experimental materials as revealed through recent scientific analysis. The volume concludes with an illustrated checklist of the works in the collection. Distributed for the Sterling and Francine Clark Art Institute
Examines the development of the aesthetic theory of the sublime and looks at Turner's prints, drawings, and watercolors to illuminate the ways he interpreted and individualized the eighteenth-century theory in his own works
"Picturesque," "immense," "fantastic," and "sublime" are but a few of the words that early British travelers used to describe the nineteenth-century Rocky Mountain landscape and surrounding terrain. As part of a long tradition of travelers' tales, these British tourists, explorers, adventurers, writers, scientists, artists, missionaries, and merchants all looked for ways to describe and illustrate places they visited--in this instance, the vast and strange wilderness landscape of the North America's Rocky Mountains. Using both published and unpublished resources, Terry Abraham weaves these observations, their aesthetic, and their "Britishness" into a refreshing and unique view of an all-but-vanished "West." In their efforts to make the Rocky Mountain West real to a readership on the other side of the Atlantic Ocean, these visitors from two centuries past encouraged a growing realization that this part of the North American landscape was unique, a special part of the world's natural heritage. Many also tried to describe the changes that were being visited on the Rockies by onrushing progress. They were among the first who cautioned against excessive human encroachment on the landscape; in fact, they demonstrated what might be called "environmental pre-awareness." Twenty-first century readers will discover surprising parallels between modern environmental and conservation issues and the concerns expressed by these early travelers from the nineteenth.