Description
Book SynopsisThis collection brings together for the first time many of the influential Marxist art-historian Andrew Hemingway's most important works on Romantic landscape painting. With a careful eye for both the ideological and aesthetic aspects of a wide range of pieces, Hemingway's keen insights offer stunning new perspectives on some of the most important painters of the era.
Trade Review"This remarkable book on the complex, contradictory relations between aesthetics, politics and the art of landscape painting in the eighteenth and nineteenth centuries is the product of more than three decades' patient, perceptive thinking about their constellation. Its probing, historically nuanced interpretations of individual canvases and their ideological accretions are as elegant as they are rigorous; and its ongoing attempt to map the theoretical and political contours of Marxist theories of art and aesthetics, to which it represents a signal contribution itself, is commanding. Landscape between Ideology and the Aesthetic is a fascinating as well as fitting testament to Andrew Hemingway's influential career as an unapologetically Marxist art historian." —Matthew Beaumont, author of Nightwalking "Andrew Hemingway’s collection of essays on eighteenth-century aesthetics and Romantic landscape painting, written over many years, demonstrates vividly the contribution that Marxism has made to both subjects.” —David Bindman “This exceptionally fine study offers a nuanced and profound historical analysis of varieties of late eighteenth- and early nineteenth-century British art. Wearing his learning lightly, Hemingway integrates the finest detail of close empirical research into an enjoyably readable narrative. He demonstrates conclusively how a critically-sophisticated Marxist approach opens up extraordinarily rewarding insights into a cultural history where the pictorial interplayed with the economic, literary, and political. He offers as outstanding an account of the ideas of the eighteenth-century Scottish philosophers as of the Norwich painters and along the way resoundingly demonstrates quite how much of actual value is to be had from the disciplined and multidisciplinary interrogation of historical art.” —Michael Rosenthal
Table of ContentsList of Illustrations ... vii Acknowledgements ... xi Sources and Occasions ... xii Introduction: Theoretical Apologia ... 1 Aesthetics and Ideology 1 The Science of Taste in the Eighteenth Century: Philosophical Criticism and the Scottish Historical School ... 41 2 Academic Theory versus Association Aesthetics: The Ideological Forms of a Conflict of Interests in the Early Nineteenth Century ... 86 3 Bourgeois Critiques of the Monopoly of Taste ... 114 4 Genius, Gender, and Progress: Benthamism and the Arts in the 1820s ... 150 5 Cultural Philanthropy and the Invention of the Norwich School ... 181 Landscape and Ideology 6 Meaning in Cotman’s Norfolk Subjects ... 217 7 Sheep as a Pictorial Motif: Pastoral and Counter-Pastoral ... 246 8 Artisanal Worldview in the Paintings of John Crome ... 297 9 John Crome’s ‘Local Scenery’: Iconography and the Ideology of the Picturesque ... 336 10 Constable and his Audience: An Argument for Iconography ... 387 11 The Field of Waterloo Exposed: Turner, Byron, and the Politics of Reaction ... 420 Coda: Regarding Art History ... 459 Bibliography ... 464 Index ... 492
