Used Copy of The Romantic Rebellion by Kenneth Clark - JS
With his extraordinary knowledge, clarity, and style Kenneth Clark discusses thirteen important artists representing one of the greatest periods in the history of art—the Romantic Era, from the second half of the eighteenth century to the middle of the nineteenth century.
During the second half of the eighteenth century, when the spirit of revolution was rising through Europe, a division appeared in all the arts, deeper and more radical than any that had preceded it. Rivalry arose between two schools of painting, the Romantic and the Classic.
The doctrine of Classic art aspired to the ideal found in Graeco-Roman antiquities; subjects were drawn from episodes in antique history or poetry that pointed a moral- acts of self-sacrifice or patriotism. Romantic art appealed to the emotions, in particular the fear and exhilaration aroused by storm, bloodshed, and ferocity, so prevalent at the time.
The emotional effect of a picture was heightened by color, violent light and shade and exaggerated movement, made shockingly natural- far removed from the tranquility and sculptural forms of classicism. In practice, however, the two schools overlapped. Both attached importance to subject matter and looked to the past for it. “Every great classical artist was a romantic at heart and vice versa; the distinction between them is more convenient than real,” writes Keneth Clark; the “Romantic Rebellion” in painting emerged from the spirit of the times.
To trace this “rebellion,” Kenneth Clark brings into focus the artistic creativity of thirteen artists- David, Goya, Piranesi, Fuseli, Blake, Ingres, Gericault, Delacroix, Turner, Constable, Millet, Degas and Rodin—all but one successful and influential, all part of the European movement. Conflicts in styles, changes of contemporary opinion, influences in the lives of the artists, and the events which inspired their works are discussed with knowledge and understanding. For the hundreds of thousands who read and were inspired by Civilization, Kenneth Clark now captures through the lives and works of these artists the spirit and essence of a great age.
Kenneth Clark was born on July 13, 1903, and educated at Winchester and Trinity College, Oxford. After working for two years with Bernard Berenson in Florence, he became Keeper of the Department of Fine Art at the Ashmolean Museum, Oxford (1931-1933), and Director of the National Gallery in London (1934-1944). In the years 1939-1941, he was Director of the Film Division, later controller, home publicity, Ministry of Information. He served as Slade Professor of Fine Art at Oxford in 1946-1950 and 1961-1962 and as Chairman of the Arts Council of Great Britain (1953-1960). During 1954-1957 he was also Chairman of the Independent Television Authority. He is a Trustee of the British Museum and member of the Advisory Council of the Victoria and Albert Museum, the Spanish Academy, and the Conseil Artistique des Musées Nationaux.
Kenneth Clark is the author of many important books and essays, including Civilisation, The Gothic Revival, Landscape into Art, Piero della Francesca, Leonardo da Vinci, The Nude, Rembrant and the Italian Renaissance. He has been elevated to a life peerage and bears the title of Lord Clark of Saltwood.
Used copy, in Very Good condition with small tears at the top edge of dust jacket. Clothing binding shows evidence of fading and some water stains. Otherwise copy is clean and tight.
With his extraordinary knowledge, clarity, and style Kenneth Clark discusses thirteen important artists representing one of the greatest periods in the history of art—the Romantic Era, from the second half of the eighteenth century to the middle of the nineteenth century.
During the second half of the eighteenth century, when the spirit of revolution was rising through Europe, a division appeared in all the arts, deeper and more radical than any that had preceded it. Rivalry arose between two schools of painting, the Romantic and the Classic.
The doctrine of Classic art aspired to the ideal found in Graeco-Roman antiquities; subjects were drawn from episodes in antique history or poetry that pointed a moral- acts of self-sacrifice or patriotism. Romantic art appealed to the emotions, in particular the fear and exhilaration aroused by storm, bloodshed, and ferocity, so prevalent at the time.
The emotional effect of a picture was heightened by color, violent light and shade and exaggerated movement, made shockingly natural- far removed from the tranquility and sculptural forms of classicism. In practice, however, the two schools overlapped. Both attached importance to subject matter and looked to the past for it. “Every great classical artist was a romantic at heart and vice versa; the distinction between them is more convenient than real,” writes Keneth Clark; the “Romantic Rebellion” in painting emerged from the spirit of the times.
To trace this “rebellion,” Kenneth Clark brings into focus the artistic creativity of thirteen artists- David, Goya, Piranesi, Fuseli, Blake, Ingres, Gericault, Delacroix, Turner, Constable, Millet, Degas and Rodin—all but one successful and influential, all part of the European movement. Conflicts in styles, changes of contemporary opinion, influences in the lives of the artists, and the events which inspired their works are discussed with knowledge and understanding. For the hundreds of thousands who read and were inspired by Civilization, Kenneth Clark now captures through the lives and works of these artists the spirit and essence of a great age.
Kenneth Clark was born on July 13, 1903, and educated at Winchester and Trinity College, Oxford. After working for two years with Bernard Berenson in Florence, he became Keeper of the Department of Fine Art at the Ashmolean Museum, Oxford (1931-1933), and Director of the National Gallery in London (1934-1944). In the years 1939-1941, he was Director of the Film Division, later controller, home publicity, Ministry of Information. He served as Slade Professor of Fine Art at Oxford in 1946-1950 and 1961-1962 and as Chairman of the Arts Council of Great Britain (1953-1960). During 1954-1957 he was also Chairman of the Independent Television Authority. He is a Trustee of the British Museum and member of the Advisory Council of the Victoria and Albert Museum, the Spanish Academy, and the Conseil Artistique des Musées Nationaux.
Kenneth Clark is the author of many important books and essays, including Civilisation, The Gothic Revival, Landscape into Art, Piero della Francesca, Leonardo da Vinci, The Nude, Rembrant and the Italian Renaissance. He has been elevated to a life peerage and bears the title of Lord Clark of Saltwood.
Used copy, in Very Good condition with small tears at the top edge of dust jacket. Clothing binding shows evidence of fading and some water stains. Otherwise copy is clean and tight.
With his extraordinary knowledge, clarity, and style Kenneth Clark discusses thirteen important artists representing one of the greatest periods in the history of art—the Romantic Era, from the second half of the eighteenth century to the middle of the nineteenth century.
During the second half of the eighteenth century, when the spirit of revolution was rising through Europe, a division appeared in all the arts, deeper and more radical than any that had preceded it. Rivalry arose between two schools of painting, the Romantic and the Classic.
The doctrine of Classic art aspired to the ideal found in Graeco-Roman antiquities; subjects were drawn from episodes in antique history or poetry that pointed a moral- acts of self-sacrifice or patriotism. Romantic art appealed to the emotions, in particular the fear and exhilaration aroused by storm, bloodshed, and ferocity, so prevalent at the time.
The emotional effect of a picture was heightened by color, violent light and shade and exaggerated movement, made shockingly natural- far removed from the tranquility and sculptural forms of classicism. In practice, however, the two schools overlapped. Both attached importance to subject matter and looked to the past for it. “Every great classical artist was a romantic at heart and vice versa; the distinction between them is more convenient than real,” writes Keneth Clark; the “Romantic Rebellion” in painting emerged from the spirit of the times.
To trace this “rebellion,” Kenneth Clark brings into focus the artistic creativity of thirteen artists- David, Goya, Piranesi, Fuseli, Blake, Ingres, Gericault, Delacroix, Turner, Constable, Millet, Degas and Rodin—all but one successful and influential, all part of the European movement. Conflicts in styles, changes of contemporary opinion, influences in the lives of the artists, and the events which inspired their works are discussed with knowledge and understanding. For the hundreds of thousands who read and were inspired by Civilization, Kenneth Clark now captures through the lives and works of these artists the spirit and essence of a great age.
Kenneth Clark was born on July 13, 1903, and educated at Winchester and Trinity College, Oxford. After working for two years with Bernard Berenson in Florence, he became Keeper of the Department of Fine Art at the Ashmolean Museum, Oxford (1931-1933), and Director of the National Gallery in London (1934-1944). In the years 1939-1941, he was Director of the Film Division, later controller, home publicity, Ministry of Information. He served as Slade Professor of Fine Art at Oxford in 1946-1950 and 1961-1962 and as Chairman of the Arts Council of Great Britain (1953-1960). During 1954-1957 he was also Chairman of the Independent Television Authority. He is a Trustee of the British Museum and member of the Advisory Council of the Victoria and Albert Museum, the Spanish Academy, and the Conseil Artistique des Musées Nationaux.
Kenneth Clark is the author of many important books and essays, including Civilisation, The Gothic Revival, Landscape into Art, Piero della Francesca, Leonardo da Vinci, The Nude, Rembrant and the Italian Renaissance. He has been elevated to a life peerage and bears the title of Lord Clark of Saltwood.
Used copy, in Very Good condition with small tears at the top edge of dust jacket. Clothing binding shows evidence of fading and some water stains. Otherwise copy is clean and tight.