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This collection examines the development of art criticism across Russia and Western Europe in the eighteenth and nineteenth centuries. Art criticism articulated local ideas about functions of art but, more importantly, it also became one of the most responsive fields in which a larger, transnational European exchange of ideas about the role of critical discourse could take place. Art criticism of this period was also rich in rhetorical strategies and textual diversity. International contributors to this volume, who include art historians, cultural historians, and specialists in critical and philosophical discourse, examine the emergence of art critical discourse in a variety of cultural and geo-political contexts.
Samuel Prout was one of the first artists to specialize in continental views. In the early 1820s he popularized the scenery of the grand tour- Normandy, the Rhine, the Low Countries, Switzerland and Italy, particularly Venice- with a wider public, through the print trade and his books of engravings and lithographs. George IV appointed him 'Painter in Water-Colours in Ordinary' in 1829, and Prout continued to enjoy royal patronage. His especial skill in depicting architectural subjects won him the admiration of Ruskin, who was to become a personal friend. Yet since the end of the nineteenth century Prout's work has received relatively little attention from art historians."--Publisher description.