It is high treason in British law to 'imagine' the king's death. But after the execution of Louis XVI in 1793, everyone in Britain must have found themselves imagining that the same fate might befall
What is the function of painting in a commercial society? John Barrell discusses how British artists and writers of the late eighteenth and early nineteenth centuries, including Sir Joshua Reynolds,
The eighteenth-century saw a radical change in the depiction of country life in English painting: feeling less constrained by the conventions of classical or theatrical pastoral, landscape painters attempted to offer a portrayal of what life was really like, or was thought to be like, in England; and this inevitably involved a distinct approach to the depiction of the rural poor. John Barrell's influential 1980 study shows why the poor began to be of such interest to painters, and examines the ways in which they could be represented so as to be an acceptable part of the décor of the salons of the rich. His discussion focuses on the work of three painters: Thomas Gainsborough, George Morland and John Constable. Throughout the book, Barrell draws illuminating comparisons with the literature of rural life and with the work of other painters. His terse and vigourous account has provided a landmark for social historians and literary critics, as well as historians of art.
It is generally agreed that in the early eighteenth century people began to be interested in landscape as something to have a 'taste' for; that they saw landscape through the eyes of the great painters, and that later pictures, poetry and landscape gardening all reflect that taste. Dr Barrell examines this interest, showing how the taste for landscape affected the poetry in detail. John Clare, who lived most of his life in rural Northamptonshire, whose landscape was being transformed by enclosure, is then taken as the focus of these different attitudes. Clare's truthfulness to the individual locality he wanted to describe would not permit him to use the conventional literary language of his predecessors, and he had instead to find his own language. His success in doing this removed him from mainstream English poetry. This 1972 text brings 'taste' into contact with the social and economic bases of life.
This book is a wide-ranging study of British literature and art from the late seventeenth through the early nineteenth centuries, one that stresses the connections between visual and verbal representa
