The Dark Side of the Landscape: The Rural Poor in English Painting 1730-1840
NB: This is a secondhand book in very good condition. See our FAQs for more information. Please note that the jacket image is indicative only. A description of our secondhand books is not always available. Please contact us if you have a question about this title.
Author: John Barrell
Format: Paperback
Number of Pages: 192
The eighteenth century saw a radical change in the depiction of country life in English painting: feeling less constrained by the conventions of classical or theatrical pastoral, landscape painters attempted to offer a portrayal of what life was really like, or was thought to be like, in contemporary England; and this inevitably involved a new approach to the depiction of the rural poor. John Barrell's influential study shows why the poor began to be of such interest to painters, and examines the ways in which they could be represented so as to be an acceptable part of the decor of the salons of the rich. His discussion focuses on the work of three painters: Thomas Gainsborough, George Morland and John Constable. Throughout the book, Barrell draws illuminating comparisons with the contemporary literature of rural life and with the work of other painters. His terse and vigorous account has provided a landmark for social historians and literary critics, as well as historians of art.
Author: John Barrell
Format: Paperback
Number of Pages: 192
The eighteenth century saw a radical change in the depiction of country life in English painting: feeling less constrained by the conventions of classical or theatrical pastoral, landscape painters attempted to offer a portrayal of what life was really like, or was thought to be like, in contemporary England; and this inevitably involved a new approach to the depiction of the rural poor. John Barrell's influential study shows why the poor began to be of such interest to painters, and examines the ways in which they could be represented so as to be an acceptable part of the decor of the salons of the rich. His discussion focuses on the work of three painters: Thomas Gainsborough, George Morland and John Constable. Throughout the book, Barrell draws illuminating comparisons with the contemporary literature of rural life and with the work of other painters. His terse and vigorous account has provided a landmark for social historians and literary critics, as well as historians of art.
Description
NB: This is a secondhand book in very good condition. See our FAQs for more information. Please note that the jacket image is indicative only. A description of our secondhand books is not always available. Please contact us if you have a question about this title.
Author: John Barrell
Format: Paperback
Number of Pages: 192
The eighteenth century saw a radical change in the depiction of country life in English painting: feeling less constrained by the conventions of classical or theatrical pastoral, landscape painters attempted to offer a portrayal of what life was really like, or was thought to be like, in contemporary England; and this inevitably involved a new approach to the depiction of the rural poor. John Barrell's influential study shows why the poor began to be of such interest to painters, and examines the ways in which they could be represented so as to be an acceptable part of the decor of the salons of the rich. His discussion focuses on the work of three painters: Thomas Gainsborough, George Morland and John Constable. Throughout the book, Barrell draws illuminating comparisons with the contemporary literature of rural life and with the work of other painters. His terse and vigorous account has provided a landmark for social historians and literary critics, as well as historians of art.
Author: John Barrell
Format: Paperback
Number of Pages: 192
The eighteenth century saw a radical change in the depiction of country life in English painting: feeling less constrained by the conventions of classical or theatrical pastoral, landscape painters attempted to offer a portrayal of what life was really like, or was thought to be like, in contemporary England; and this inevitably involved a new approach to the depiction of the rural poor. John Barrell's influential study shows why the poor began to be of such interest to painters, and examines the ways in which they could be represented so as to be an acceptable part of the decor of the salons of the rich. His discussion focuses on the work of three painters: Thomas Gainsborough, George Morland and John Constable. Throughout the book, Barrell draws illuminating comparisons with the contemporary literature of rural life and with the work of other painters. His terse and vigorous account has provided a landmark for social historians and literary critics, as well as historians of art.
The Dark Side of the Landscape: The Rural Poor in English Painting 1730-1840