Product Description

Challenging the view that limits Frederic Leighton to the category of "Victorian artist," this collection of writings reinterprets Leighton`s work and reappraises his significance in the history of modern art. Leighton`s profound commitment to the ancient and renaissance past does not exclude him from an influential role in modern art, argue the authors; indeed it assures his position there.

Product Details

• Amazon Sales Rank: #1940853 in Books
• Published on: 1999-02-08
• Original language: English
• Number of items: 1
• Binding: Hardcover
• 384 pages

From Library Journal
This volume comprises 14 scholarly papers, many of which are an outgrowth of a conference convened by the editors at the Victoria and Albert Museum. Leighton (1830-96), a president of the Royal Academy of Arts, is a difficult artist to assess and a highly controversial one; during his lifetime reviewers attacked his work as flamboyant and effeminate and as "empty pomp." The contributors attempt to examine his work from a variety of angles under three main headings: his use of aesthetic elements from antiquity; his use of Renaissance elements, notably costumes and settings; and his relation to modernity in his many activities. The last of these headings seems to be the most difficult perspective to assess. The volume does provide a very useful and extremely important examination of Leighton's work in the context of his age and some interesting sidelights into his home, his interest in music, and his promotion of new painting. This beautiful volume will necessarily appeal to the specialist.AMartin Chasin, Adult Inst., Bridgeport, CT
Copyright 1999 Reed Business Information, Inc.

Customer Reviews

masterly essays
A timely and convincing re-evaluation of an unfairly reviled Victorian master. Barringer and Prettejohn demonstrate that Leighton has borne the brunt of Modernist abuse for far too long. The full extent of his achievement is brought out in this comprehensive and powerful collection of essays, which show that 'Flaming June' and his other works are much more than merely charming. I particularly liked Prettejohn's elegant account of his four major narrative pictures. Now at last critics can write about Victorian art openly, fairly and with insight. Leighton emerges as a masterly and subtle artist - not before time.