French Art in Nineteenth-Century Britain

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During the nineteenth century, what had been British hostility toward French art shifted toward acceptance and even enthusiasm, a change that transformed British art. This book charts the impact of French culture on British art and, to a lesser extent, the influence of British art in France during the nineteenth century. Thoroughly original, it is the first full overview of artistic and cultural relations between the two most important European nations of the period.

Extending its reach beyond Romanticism and Impressionism, the book offers an encyclopedic account of all aspects of the British reception of French art in the nineteenth century. It demonstrates in detail how the rapprochement between French and British art over the course of the century effected fundamental and lasting change throughout the British art world. This is an essential volume for anyone with an interest in the art of Britain and France and in the political, social, economic, and cultural contexts in which art is created.

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Editorial Reviews

Library Journal
Today, French art so dominates 19th-century art history studies that it is surprising to discover how poorly received it was in Great Britain during that period. Morris, formerly a curator at the Walker and Lady Lever Art Galleries in Liverpool, England, has done an outstanding job of rendering a complete and objective picture of this previously unexplored subject. The British regarded French art and artists with suspicion because many of the best French artists were associated with political radicalism and the belief that French art was immoral, or at best lacking in higher sentiment. Those French artists who gained popularity in Britain were for the most part second-rate painters largely forgotten today (though Romantic art and the Barbizon School made inroads later in the century). French art training, alternately, was acknowledged as the best in the world, and many British artists spent time studying in France. Featuring 152 black-and-white illustrations, this original history is recommended for large art collections.-Amy K. Weiss, Univ. of California Lib., Santa Barbara Copyright 2005 Reed Business Information.
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Product Details

  • ISBN-13: 9780300106893
  • Publisher: Yale University Press
  • Publication date: 8/10/2005
  • Pages: 482
  • Product dimensions: 8.60 (w) x 11.00 (h) x 1.50 (d)

Meet the Author

Edward Morris was until his retirement Curator of Fine Art, National Museums and Galleries on Merseyside.

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Table of Contents

1 The eighteenth-century background, nationalism and the Napoleonic wars 3
2 Rome 17
3 The training of the artist 26
4 The romantic print and watercolour 42
5 Romanticism in France and Britain 50
6 Genre 59
7 French literature and history 69
8 Whig patronage and radical internationalism 73
9 Royal patronage and Whig attitudes 91
10 Women 100
11 International exhibitions 115
12 Exhibitions and dealers in England 127
13 Refugees and economic migrants 144
14 The British discovery of Northern France 161
15 The English circle of Ary Scheffer and collectors in Manchester and Liverpool 176
16 Architecture and the gothic revival 192
17 Periodicals and art criticism 206
18 Classicism, idealism and symbolism 219
19 Barbizon, Rodin and Scotland 231
20 Sculpture 245
21 Whistler and his circle 259
22 The new English art club 271
23 The opposition to France 277
App British art students in Paris : a chronological list 289
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