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In this study, first published in 1979, Landow contends that Hunt’s version of Pre-Raphaelitism concerned itself primarily with an elaborate system of painterly symbolism rather than with a photographic realism as has been usually supposed. Like Ruskin, Hunt believed that a symbolism based on scriptural typology – the method of finding anticipations of Christ in Hebrew history – could produce an ideal art that would solve the problems of Victorian painting. According to Hunt, this elaborate symbolism could simultaneously avoid the dangers of materialism inherent in a realistic style, the dead conventionalism of academic art, and the sentimentality of much contemporary painting. George Landow examines Hunt’s work in the context of this argument and, drawing on much unknown or previously inaccessible material, shows how he used texts, frames, and symbols to create a complex art of mediation that became increasingly visionary as the artist grew older. This book is ideal for students of art history.
In this study, first published in 1979, Landow contends that Hunt’s version of Pre-Raphaelitism concerned itself primarily with an elaborate system of painterly symbolism rather than with a photographic realism as has been usually supposed. Like Ruskin, Hunt believed that a symbolism based on scriptural typology – the method of finding anticipations of Christ in Hebrew history – could produce an ideal art that would solve the problems of Victorian painting. According to Hunt, this elaborate symbolism could simultaneously avoid the dangers of materialism inherent in a realistic style, the dead conventionalism of academic art, and the sentimentality of much contemporary painting. George Landow examines Hunt’s work in the context of this argument and, drawing on much unknown or previously inaccessible material, shows how he used texts, frames, and symbols to create a complex art of mediation that became increasingly visionary as the artist grew older. This book is ideal for students of art history.
The importance of typology in the study of early modern literature has long been accepted, yet students of Victorian culture have paid little attention to it. First published in 1980, this study demonstrates how biblical typology, an apparently arcane interpretative mode, had profound effects on the secular culture of the Victorian age: its art, literature and thought. George Landow considers the way in which the average English believer learned to read their Bible in terms of the types and shadows of Christ, the various ways in which Victorian poetry and hymns employed certain imagery, and the use of typological symbolism in narrative poetry, prose fiction, dramatic monologue and non-fiction. In a concluding chapter, he investigates the particularly complex, and often ironic, combinations of typological image and typological structure.
The study of Ruskin’s work and influence is now a feature of several critical disciplines. New Approaches to Ruskin, first published in 1981, reflects this, gathering some of the most distinguished writers on Ruskin and joining them with others who have undertaken significant research in the field of Ruskin studies. The authors were all specially commissioned for this volume and were chosen to represent as wide a variety of approaches as possible to this key figure of nineteenth-century culture. This book is ideal for students of art history.
First published in 1982, Images of Crisis explores the premise that literature and art exploit various images to present culturally prevalent ideas, and thus create their own form of iconology. George Landow shows how the tumultuous history of the past two hundred years has resulted in a plethora of metaphors associated with moments of human crisis. Avalanches and volcanoes emerge as focal images in an aesthetic that concerns itself increasingly with the vulnerability of humanity. However, it is in the transformation of traditional religious images that the ideas of the vacant universe are most dramatically presented. Associated with this central idea are ironic transformations of other images that formerly had been associated with Christianity as paradigms of belief: the journey of Odysseus, the rainbow of the Covenant and Robinson Crusoe. Combining close textual analysis with a theory of literary iconology, this fascinating reissue will be of particular value to students with an interest in literary images, and literary and cultural history.
Discrete inquiries into 15 forms of the Arthurian legends produced over the last century explore how they have altered the tradition. They consider works from the US and Europe, and those aimed at popular and elite audiences. The overall conclusion is that the "Arthurian revival" is an ongoing event, and has become multivalent, multinational, and multimedia. Originally published in 1992.
Painting the Bible is the first book to investigate the transformations that religious painting underwent in mid-Victorian England. It charts the emergence of a Protestant realist painting in a period of increasing doubt, scientific discovery and biblical criticism. The book analyzes the position of religious painting in academic discourse and assesses the important role Pre-Raphaelite work played in redefining painting for mid-Victorian audiences. This original study brings together a wide range of material from high art and popular culture. It locates the controversy over the religious works of the Pre-Raphaelite Brotherhood in debates about academicism, revivalism and caricature. It also investigates William Holman Hunt's radical, orientalist-realist approach to biblical subject matter which offered an important updating of the image of Christ that chimed with the principles of liberal Protestantism. The book will appeal to scholars and students across disciplines such as art history, literature, history and cultural studies. Its original research, rigorous analysis and accessible style will make it essential reading for anyone interested in questions of representation and belief in mid-Victorian England.
In Victorian England there was interest in understanding the early Church as an inspiration for contemporary sanctity. This was manifested in a surge in archaeological inquiry and in the construction of new churches using medieval models. Janes seeks to understand the fierce passions that were unleashed by the contended practices.