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Prettejohn, Elizabeth

doi:10.1017/ccol9780521895156.020

Cited by 2 publications

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“…This painting, together with other Pre-Raphaelites paintings exhibited in 1850, arose a violent reaction on the part of the establishment; “the critics suddenly abandoned their measured tones to engage in what can only be called a campaign of vituperation” (Prettejohn, 2000 ). On May 9, 1850, the critic of “The Times” wrote: “The attempt to associate the Holy Family with the meanest details of a carpenter’s shop, with no conceivable omission of misery, dirt, or even disease, all finished with the same loathsome minuteness, is disgusting.” Also Dickens reacted violently to Millais’ painting.…”

Section: Examples Of Application Of the Proposed Approachmentioning

confidence: 99%

Dreaming and Neuroesthetics

Barcaro

Paoli²

2015

Front. Hum. Neurosci.

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This paper, which is limited to the art of painting, aims to support the idea that a substantial insertion of concepts and methods drawn on dream psychology and dream neuroscience can contribute to the advancements of Neuroesthetics. The historical and scientific reasons are discussed that have determined the so far poor role played by the dream phenomenon in the developments of Neuroesthetics. In the light of recent advancements in psychophysiological research, a method of analyzing artistic products is proposed that is based on the recognition of precise features proper of the dreaming experience. Four examples are given for application of this method, regarding works by Giorgione, Leonardo da Vinci, Vermeer, and Millais, respectively.

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Section: Examples Of Application Of the Proposed Approachmentioning

confidence: 99%

Dreaming and Neuroesthetics

Barcaro

Paoli²

2015

Front. Hum. Neurosci.

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“…50 What is true for the Pre-Raphaelites and for Victorian visual culture is also an accurate picture of the persistence of the Gothic Revival: 'there are reasonable grounds for scepticism about whether such a revival was ever required, so difficult is it to find any period when the Pre-Raphaelites were truly out of view.' 51 Alexandra Harris has linked Evelyn Waugh's writing on Dante Gabriel Rossetti with Clark's The Gothic Revival. These two books appeared in the same year and both moved from an ironic standpoint on Victorian culture to a less condescending stance.…”

Section: The Status Of Victorian Gothic In a New Agementioning

confidence: 99%

The Persistence of Medievalism: Kenneth Clark and the Gothic Revival

Lepine¹

2014

Architectural History

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From his emergence on the cultural scene in the 1920s until his death in 1983, Kenneth Clark was one of the most influential figures in the history of British art and design, and his legacy remains strong. Clark’s life and work were entirely dedicated to communicating about art and transforming public understanding regarding its production and enjoyment. His first book, The Gothic Revival: An Essay in the History of Taste, investigated, condemned and elevated the status of Georgian and Victorian England’s enthusiasm for the Middle Ages. Written in the mid-1920s, it was published with Constable in 1928 when he was only twenty-five years old. By investigating the circumstances under which the book came to fruition and its importance in relation to Clark’s persistent interest in the Victorians — and John Ruskin in particular — a richer understanding of Clark’s ideas and beliefs can take shape.

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Cited by 2 publications

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Dreaming and Neuroesthetics

Dreaming and Neuroesthetics

The Persistence of Medievalism: Kenneth Clark and the Gothic Revival

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