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Romanticism and the Museum argues that museums were integral to Britain's understanding of itself as a nation in the wake of the French Revolution. It features Wordsworth, Scott, Edgeworth, and literary periodicals featuring Byron and Horace Smith.
Romanticism and the Museum argues that museums were integral to Britain's understanding of itself as a nation in the wake of the French Revolution. It features Wordsworth, Scott, Edgeworth, and literary periodicals featuring Byron and Horace Smith.
In 1832, Emerson made his famous decision to pursue wholeness in his life and in his writing. The Emerson Museum shows how this undertaking transformed American literary practice by turning the legacy of European romanticism into a writing project answerable to American urgencies.
This volume presents 115 drawings and paintings from the holdings of collector Karen B. Cohen. The 19th-century French and English works include landscapes, portraits, figure compositions, and still lifes by great artists of the romantic period and of the Barbizon and Realist schools, beginning with Prud'hon and ending with Seurat. Among the highlights is a group of little known works by Courbet and a series of cloud studies by Constable. Ives (curator, The Metropolitan Museum of Art) provides documentation and commentary for each work, placing it within the context of the artist's development and connecting it to contemporary artistic trends and innovations. Curator Elizabeth E. Barker contributed entries on Constable and Bonington. Annotation copyrighted by Book News Inc., Portland, OR
In the process of tracing poetic and critical responses to the museum and its collections, Poem Exhibitions simultaneously demonstrates the impact of nationalist ideologies and scientific discourse on formal and thematic developments in Romantic poetry and aesthetics.".
“Art will wake you up. Art will break your heart. There will be glorious days. If you want eternity you must be fearless.” —Heather Rose, The Museum of Modern Love Our hero, Arky Levin, has reached a creative dead end. An unexpected separation from his wife was meant to leave him with the space he needs to work composing film scores, but it has provided none of the peace of mind he needs to create. Guilty and restless, almost by chance he stumbles upon an art exhibit that will change his life. Based on a real piece of performance art that took place in 2010, the installation that the fictional Arky Levin discovers is inexplicably powerful. Visitors to the Museum of Modern Art sit across a table from the performance artist Marina Abramović, for as short or long a period of time as they choose. Although some go in skeptical, almost all leave moved. And the participants are not the only ones to find themselves changed by this unusual experience: Arky finds himself returning daily to watch others with Abramović. As the performance unfolds over the course of 75 days, so too does Arky. As he bonds with other people drawn to the exhibit, he slowly starts to understand what might be missing in his life and what he must do. This is a book about art, but it is also about success and failure, illness and happiness. It’s about what it means to find connection in a modern world. And most of all, it is about love, with its limitations and its transcendence.
About Romantic art from the 18th-19th centuries.
Public museums and romantic writing emerged side by side in Britain. My thesis deals with various texts' uses of the new institution of the museum, as shorthand, allegory, or arena of discussion for the ways in which regency society was changing. The three major bodies of theory that inform my work are cultural theory, book history, and museum theory. The first chapter explores one of the germinal texts of romantic poetry, Wordsworth's The Prelude . The idea of a public gallery underlies Wordsworth's description of seeing Charles Le Brun's Penitent Magdalene canvas. The second chapter focuses on Walter Scott's 1814 novel, Waverley. The narrator views the novel's portraits forensically, and discredits them as historical documents. His critical knowledge belongs not to the 1745 setting of Waverley , but to early nineteenth-century Edinburgh, when public art exhibitions commenced. The third chapter is on Maria Edgeworth's Harrington (1817). Harrington is the story of two collections competing to form the hero's mind: the benevolent, Jewish Mr. Montenero's art collection, which he uses to preserve the British ruling class, and the Mowbray collection, which incarnates anti-semitism. A crucial scene takes place in the proto-museum of the Tower of London. When the British Museum purchased the Elgin Marbles in 1816, it intensified a polarized debate over the collection's proper ownership - and created one of the first mass audiences for any museum. The final chapter examines the Marbles' presence in periodical literature, comparing the pirating of Byron's Curse of Minerva (first published 1815) in the New Monthly Magazine with the publishing of Horace Smith's "The Phidias Room" in the London Magazine in 1821. My conclusion jumps ahead to E.W. Hornung's short story, "A Jubilee Present" (1901), which features a robbery of the British Museum. Hornung's lighthearted portrayal of criminals as patriots shows how the public virtues of the museum - which literary romanticism did so much to instill throughout regency culture - were so established by the late Victorian era that they had become the basis for a gentle joke.