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It also had, as McCue reminds us in her first chapter, a political dimension. Her description of Hazlitt’s stress on “gusto” – the body’s response to an art work – prefigures Vernon Lee’s, though one need hardly look for a single point of origin, as Hazlitt’s focus on corporeal reaction was by no means unique. Such raiding could also be sanctioned by acts of appreciation – of newly refined forms of perception as described and recommended by literary texts – and it is these latter that McCue is mostly concerned with.
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The import of Italian art into London, which was considerable, could at this point be justified as an act of curatorship. England began to see itself as the protector of Italy and of its art treasures in the face of Napoleon’s depredations. McCue begins by anchoring the well-known idea that Italy came to be regarded as “a land of the imagination … a country which has all but become a work of art in itself” (p. Licensed under CC BY-SA 3.0 via Wikimedia Commons –
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The Venus de Medici, which provoked strong responses from Byron and Hazlitt, in a Russian copy “Venus medici Pushkin”. Much more unexpectedly, Pierce Egan the Elder, the author of the racy Life in London, receives a few interesting pages too. Patmore, Anna Jameson, Lady Morgan, William Roscoe and Wordsworth. Other authors several times referred to but quite briefly discussed include Mary Shelley, Madame de Staël, Lessing, Hazlitt’s contemporary the art critic P.G.
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The volume also deals with the changing nature of the arbiters as well as the rules of taste, the effect of Old Masters on literary texts, especially by Shelley, Byron and Hazlitt, and above all on the poem Italy(1822 and revised substantially in 1830) by the fascinating and influential Dissenting banker and poet, Samuel Rogers, to which an entire chapter is devoted. It scandalised contemporaries – the New York Times review is now notorious – but if the horrified critics of 1912 had been able to read Maureen McCue’s well-written study of how some of the major Romantics reacted to Italian Old Masters, they would have been able to appreciate how Lee’s emphasis on the physical had a very respectable genealogy in canonical poets and prose writers of the Romantic period.Ĭomprising four chapters with a substantial Introduction and a brief recapitulatory Conclusion, British Romanticism and the Reception of Italian Old Master Art 1793-1840 covers the tensions involved in appreciating Italian art from the early Renaissance and afterwards from the perspective of the mainly male educated middle classes in the first decades of the nineteenth century (“Old Masters” McCue helpfully defines as paintings from Giotto to Guido Reni). Starting from this empirical position, Lee claimed in her 1912 Beauty and Ugliness that memories and associations caused unconscious changes in posture and breathing: the “reception” she sought to systematise and map was a bodily one. How does one study the reception of art work? As we know from the work of Caroline Burdett (19 (2011) and others, in the early part of the twentieth century Vernon Lee scrutinised and recorded the physical responses to paintings of her lover Kit Anstruther-Thomson: a direct scrutiny of scrutiny’s effects that Lee then translated into words. British Romanticism and the Reception of Italian Old Master Art 1793-1840įarnham, UK/ Burlington VT: Ashgate, November 2014.