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At a time of growing interest in relations between Marxism and Romanticism, Andrew Hemingway’s essays on British art and art theory reopen the question of Romantic painting’s ideological functions and, in some cases, its critical purchase. Half the volume exposes the voices of competing class interests in aesthetics and art theory in the tumultuous years of British history between the American Revolution and the 1832 Parliamentary Reform Act. Half offers new perspectives on works by some of the most important landscape painters of the time: John Constable, J.M.W. Turner, John Crome, and John Sell Cotman. Four essays are hitherto unpublished, and the remainder have been updated and in several cases substantially rewritten for this volume.
At a time of the widespread rejection of history by politicians and intellectuals, Jonathan Clark's new book is a landmark defence of continuity: a key account of how public morality, civic involvement and our sense of tradition depend on what historians write.
This is a detailed analytical narrative covering the period between the constitutional crisis of 1782-84 and the passing of the Great Reform Act. The main themes are parliamentary reform and the question of political participation.