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British Romanticism and the Reception of Italian Old Master Art, 1793-

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Maureen McCue argues"><meta name="disambiguatingDescription" content="monograph"><link rel="canonical" href="https://www.taylorfrancis.com/books/mono/10.4324/9781315570280/british-romanticism-reception-italian-old-master-art-1793-1840-maureen-mccue"><script type="application/ld+json" id="jsonld">{"@context":"https://schema.org","@type":"Book","@id":"10.4324/9781315570280","bookFormat":"Ebook","datePublished":"2016-05-23T00:00:00.000Z","isbn":"9781315570280","bookEdition":"1st Edition","url":"https://www.taylorfrancis.com/books/mono/10.4324/9781315570280/british-romanticism-reception-italian-old-master-art-1793-1840-maureen-mccue","author":{"@type":"Person","givenName":"Maureen","familyName":"McCue"},"genre":"Arts","name":"British Romanticism and the Reception of Italian Old Master Art, 1793-1840","numberOfPages":204,"description":"As a result of Napoleon’s campaigns in Italy, Old Master art flooded into Britain and its acquisition became an index of national prestige. 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Maureen McCue argues"><meta property="og:image" content="http://images.tandf.co.uk/common/jackets/crclarge/978140946/9781409468325.jpg"><meta property="og:image:secure_url" content="https://images.tandf.co.uk/common/jackets/crclarge/978140946/9781409468325.jpg"><meta property="og:image:alt" content="British Romanticism and the Reception of Italian Old Master Art, 1793-1840"><meta property="books:isbn" content="9781315570280"><meta property="books:page_count" content="204"><meta name="audience" content="all"><meta name="distribution" content="global"><meta name="citation_title" content="British Romanticism and the Reception of Italian Old Master Art, 1793-1840"><meta name="citation_publication_date" content="2016/05/23"><meta name="citation_isbn" content="9781315570280"><meta name="citation_publisher" content="Routledge"><meta name="citation_pdf_url" content="https://api.taylorfrancis.com/content/books/mono/download?identifierName=doi&amp;identifierValue=10.4324/9781315570280&amp;type=googlepdf"><meta name="citation_doi" content="10.4324/9781315570280"><meta name="citation_abstract" content="As a result of Napoleon’s campaigns in Italy, Old Master art flooded into Britain and its acquisition became an index of national prestige. Maureen McCue argues that their responses to these works informed the writing of Romantic period authors, enabling them to forge often surprising connections between Italian art, the imagination and the period’s political, social and commercial realities. Dr McCue examines poetry, plays, novels, travel writing, exhibition catalogues, early guidebooks and private experiences recorded in letters and diaries by canonical and noncanonical authors, including Felicia Hemans, William Buchanan, Henry Sass, Pierce Egan, William Hazlitt, Percy Shelley, Lord Byron, Anna Jameson, Maria Graham Callcott and Samuel Rogers. Her exploration of the idea of connoisseurship shows the ways in which a knowledge of Italian art became a key marker of cultural standing that was no longer limited to artists and aristocrats, while her chapter on the literary production of post-Waterloo Britain traces the development of a critical vocabulary equally applicable to the visual arts and literature. 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Click here to navigate to respective pages.</p><!----></div></shared-lib-breadcrumbs><!----><div _ngcontent-sc186="" class="row row-no-gutters" id="version_maincontainer"><div _ngcontent-sc186="" role="region" aria-label="Parent Product Description" class="product-details col-md-9 col-xs-12 rm-left-margin"><div _ngcontent-sc186="" class="product-banner-details"><product-metadata-wrapper _ngcontent-sc186=""><div class="banner-container"><div class="upper-section"><div class="product-content-type hidden-lg hidden-md hidden-sm"><p>Book</p><!----><!----></div><!----><div class="col-md-3 col-sm-3 col-xs-12 leftBookImage"><shared-lib-cover-image class="coverimage productPage" _nghost-sc112=""><div _ngcontent-sc112="" class="product-cover-image product-cover-image-portrait"><img _ngcontent-sc112="" class="product-image" alt="British Romanticism and the Reception of Italian Old Master Art, 1793-1840" title="British Romanticism and the Reception of Italian Old Master Art, 1793-1840" src="https://images.tandf.co.uk/common/jackets/crclarge/978140946/9781409468325.jpg"><!----><!----><!----><!----><!----><!----><!----><!----><!----><!----><!----><!----><!----><div _ngcontent-sc112="" class="circle-spinner"><img _ngcontent-sc112="" src="assets/img/loading.svg" alt="loading" class="loader"></div><!----></div></shared-lib-cover-image><shared-lib-access-indicator _nghost-sc160="" class="remove-margin"><div _ngcontent-sc160="" class="access-indicator-wrapper"><!----></div></shared-lib-access-indicator><!----><div class="hidden-xs display-logo"><product-accessiblity-logo _nghost-sc162=""><!----><!----><!----></product-accessiblity-logo></div><!----></div><!----><div class="col-xs-12 rightBookDesc left-space col-md-9 col-sm-9"><div class="blue-banner productPageClass"><div class="product-content-type hidden-xs"><p>Book</p><!----><!----></div><!----><!----><shared-lib-product-titles class="product-title-container" _nghost-sc117=""><div _ngcontent-sc117="" class="wrapper"><h1 _ngcontent-sc117="" class="product-banner-title"> British Romanticism and the Reception of Italian Old Master Art, 1793-1840 </h1><!----><!----><p _ngcontent-sc117="" id="bookTitle" hidden="">DOI link for British Romanticism and the Reception of Italian Old Master Art, 1793-1840</p><p _ngcontent-sc117="" id="bookName" hidden="">British Romanticism and the Reception of Italian Old Master Art, 1793-1840</p><!----><!----><!----><!----><!----></div><!----></shared-lib-product-titles><!----></div><product-metadata class="product-detail-container" _nghost-sc164=""><div _ngcontent-sc164="" class="product-citation-conatiner"><div _ngcontent-sc164="" class="product-details"><shared-lib-product-authors _ngcontent-sc164="" _nghost-sc158=""><div _ngcontent-sc158="" class="product-banner-publish mt-5"><span _ngcontent-sc158="" class="product-banner-author">By</span><!----><span _ngcontent-sc158="" class="product-banner-author-name"><!----><a _ngcontent-sc158="" href="/search?contributorName=Maureen McCue&amp;contributorRole=author&amp;redirectFromPDP=true&amp;context=">Maureen McCue</a><!----><!----><!----><!----><!----><!----><!----><!----><!----><!----></span><!----><!----><!----><!----><!----><!----><!----><!----></div><!----></shared-lib-product-authors><!----><!----><!----><!----><!----><div _ngcontent-sc164=""><shared-lib-product-more-details _ngcontent-sc164="" _nghost-sc159=""><div _ngcontent-sc159="" class="product-banner-publication"><div _ngcontent-sc159=""><div _ngcontent-sc159="" class="display-row"><span _ngcontent-sc159="" class="display-label">Edition </span><span _ngcontent-sc159="" class="product-ryt-detail">1st Edition</span><!----><!----></div><!----></div><div _ngcontent-sc159=""><div _ngcontent-sc159="" class="display-row"><span _ngcontent-sc159="" class="display-label">First Published </span><span _ngcontent-sc159="" class="product-ryt-detail">2014</span><!----><!----></div><!----></div><div _ngcontent-sc159=""><div _ngcontent-sc159="" class="display-row"><span _ngcontent-sc159="" class="display-label">eBook Published </span><span _ngcontent-sc159="" class="product-ryt-detail">23 May 2016</span><!----><!----></div><!----></div><div _ngcontent-sc159=""><div _ngcontent-sc159="" class="display-row"><span _ngcontent-sc159="" class="display-label">Pub. Location </span><span _ngcontent-sc159="" class="product-ryt-detail">London</span><!----><!----></div><!----></div><div _ngcontent-sc159=""><div _ngcontent-sc159="" class="display-row"><span _ngcontent-sc159="" class="display-label">Imprint </span><span _ngcontent-sc159="" class="product-ryt-detail">Routledge</span><!----><!----></div><!----></div><div _ngcontent-sc159=""><div _ngcontent-sc159="" class="display-row"><span _ngcontent-sc159="" class="display-label">DOI </span><!----><span _ngcontent-sc159="" class=""><a _ngcontent-sc159="" id="gtm_doi_link" aria-describedby="bookTitle" target="_blank" href="https://doi.org/10.4324/9781315570280"> https://doi.org/10.4324/9781315570280 </a></span><!----></div><!----></div><div _ngcontent-sc159=""><div _ngcontent-sc159="" class="display-row"><span _ngcontent-sc159="" class="display-label">Pages </span><span _ngcontent-sc159="" class="product-ryt-detail">204</span><!----><!----></div><!----></div><div _ngcontent-sc159=""><div _ngcontent-sc159="" class="display-row"><span _ngcontent-sc159="" class="display-label">eBook ISBN </span><span _ngcontent-sc159="" class="product-ryt-detail">9781315570280</span><!----><!----></div><!----></div><div _ngcontent-sc159=""><div _ngcontent-sc159="" class="display-row"><span _ngcontent-sc159="" class="display-label">Subjects </span><span _ngcontent-sc159="" class="product-ryt-detail">Arts</span><!----><!----></div><!----></div><div _ngcontent-sc159=""><!----></div><!----></div><!----><!----></shared-lib-product-more-details><!----></div></div><div _ngcontent-sc164="" class="hidden-lg hidden-md hidden-sm"><product-accessiblity-logo _ngcontent-sc164="" _nghost-sc162=""><!----><!----><!----></product-accessiblity-logo><product-accessiblity-logo _ngcontent-sc164="" _nghost-sc162=""><!----><!----><!----></product-accessiblity-logo></div><!----><div _ngcontent-sc164="" class="citation"><span _ngcontent-sc164=""><button _ngcontent-sc164="" aria-label="Share" id="openShare" data-gtm="gtm-social-sharing" class="citation-container" aria-expanded="false"><span _ngcontent-sc164="" aria-haspopup="true" data-toggle="modal" data-target="#export-share" data-gtm="gtm-social-sharing" class="open-export-citation"><span _ngcontent-sc164="" class="icon-container"><img _ngcontent-sc164="" src="assets/icon/share.svg" width="100%" height="100%" alt="Share" aria-hidden="true" data-gtm="gtm-social-sharing"></span></span><div _ngcontent-sc164="" class="ctText">Share</div></button><!----></span><span _ngcontent-sc164=""><product-get-citation _ngcontent-sc164="" _nghost-sc163=""><button _ngcontent-sc163="" data-gtm="gtm-view-citation" aria-label="Citation " id="openCitation" class="citation-container"><span _ngcontent-sc163="" data-toggle="modal" data-target="#export-citation" class="open-export-citation"><span _ngcontent-sc163="" class="icon-container"><span _ngcontent-sc163="" class="icon-citation commonIcon citation-icon"></span></span></span><div _ngcontent-sc163="" class="ctText">Citation</div></button><div _ngcontent-sc163="" id="export-citation" class="modal"><div _ngcontent-sc163="" id="citation-modal-dialog" role="dialog" class="modal-dialog modal-export-citation"><div _ngcontent-sc163="" class="modal-content"><div _ngcontent-sc163="" class="modal-header"><h2 _ngcontent-sc163="" class="modal-title">Get Citation</h2><span _ngcontent-sc163="" data-dismiss="modal"><button _ngcontent-sc163="" id="closeCitation" aria-label="Get Citation Close" class="icon-cancel commonIcon"></button></span></div><div _ngcontent-sc163="" class="modal-body"><div _ngcontent-sc163="" class="citation-text-container"><span _ngcontent-sc163="" class="citationText">McCue, M. (2014). British Romanticism and the Reception of Italian Old Master Art, 1793-1840 (1st ed.). Routledge. https://doi.org/10.4324/9781315570280</span></div><div _ngcontent-sc163="" class="copy-icon-conatiner"><!----><!----><span _ngcontent-sc163=""><button _ngcontent-sc163="" id="copyCitation" data-gtm="gtm-copy-citation" aria-label="Copy citation link" class="btn btn-outline clearfix"> COPY </button></span></div></div></div></div></div></product-get-citation><!----></span><!----></div></div><!----></product-metadata><!----><!----></div></div><div class="hidden-xs"><product-accessiblity-logo _nghost-sc162=""><!----><!----><!----></product-accessiblity-logo></div><!----><!----></div></product-metadata-wrapper></div><product-data-wrapper _ngcontent-sc186="" class="container" _nghost-sc179=""><div _ngcontent-sc179="" class="product-data-wrapper-container"><product-content-wrapper _ngcontent-sc179="" class="product-tab-content" _nghost-sc176=""><div _ngcontent-sc176=""><!----><!----><product-about-book _ngcontent-sc176="" id="contents" class="about-book"><div data-gtm="gtm-expand-about-product"><h2 class="abstract-text"> ABSTRACT </h2><!----><div id="collapseContent" class="book-content"><div><p>As a result of Napoleon’s campaigns in Italy, Old Master art flooded into Britain and its acquisition became an index of national prestige. Maureen McCue argues that their responses to these works informed the writing of Romantic period authors, enabling them to forge often surprising connections between Italian art, the imagination and the period’s political, social and commercial realities. Dr McCue examines poetry, plays, novels, travel writing, exhibition catalogues, early guidebooks and private experiences recorded in letters and diaries by canonical and noncanonical authors, including Felicia Hemans, William Buchanan, Henry Sass, Pierce Egan, William Hazlitt, Percy Shelley, Lord Byron, Anna Jameson, Maria Graham Callcott and Samuel Rogers. Her exploration of the idea of connoisseurship shows the ways in which a knowledge of Italian art became a key marker of cultural standing that was no longer limited to artists and aristocrats, while her chapter on the literary production of post-Waterloo Britain traces the development of a critical vocabulary equally applicable to the visual arts and literature. In offering cultural, historical and literary readings of the responses to Italian art by early nineteenth-century writers, Dr McCue illuminates the important role they played in shaping the themes that are central to our understanding of Romanticism.</p><!----><!----><!----></div><!----></div></div><!----><!----><!----></product-about-book><!----><product-toc _ngcontent-sc176="" id="aboutBooks" class="tab-pane fade in"><div><h2 class="table-contents hidden-xs hidden-sm"> TABLE OF CONTENTS </h2><product-tree-view class="product-tree-view"><div><div><div class="product-toc-wrapper"><div class="flex-container"><div class="chapter-title-pagenumber col-9"><h3 class="chapter-page-number"><product-chapter-page-number _nghost-sc166=""><span _ngcontent-sc166="" class="chapter-number"> chapter <!----></span><span _ngcontent-sc166="" class="page-number">|</span><!----><span _ngcontent-sc166="" class="page-number"><span _ngcontent-sc166="" class="number-color">23</span>&nbsp;pages</span><!----></product-chapter-page-number></h3><h4 class="chapter-title"><a data-gtm="gtm-toc-chapter" role="link" class="chapter-navigation" href="/chapters/mono/10.4324/9781315570280-1/introduction-maureen-mccue?context=ubx&amp;refId=d579fc93-5f78-4b2d-8ace-9ea0e769c94e">Introduction </a><!----><!----></h4><!----><!----><!----><shared-lib-view-abstract viewdetailtext="Abstract" hidedetailtext="Abstract" _nghost-sc167=""><div _ngcontent-sc167="" class="view-abstract"><button _ngcontent-sc167="" data-toggle="collapse" data-target=".multi-collapse" aria-controls="multi-collapse" class="viewAbstractBtn" data-gtm="gtm-view-abstract" aria-expanded="false"> Abstract <!----><em _ngcontent-sc167="" data-gtm="gtm-view-abstract" class="icon-down btn-link"></em><!----></button><!----></div><!----></shared-lib-view-abstract><!----></div><!----></div></div><!----></div><div><div class="product-toc-wrapper"><div class="flex-container"><div class="chapter-title-pagenumber col-9"><h3 class="chapter-page-number"><product-chapter-page-number _nghost-sc166=""><span _ngcontent-sc166="" class="chapter-number"> chapter <span _ngcontent-sc166="">1</span><!----></span><span _ngcontent-sc166="" class="page-number">|</span><!----><span _ngcontent-sc166="" class="page-number"><span _ngcontent-sc166="" class="number-color">38</span>&nbsp;pages</span><!----></product-chapter-page-number></h3><h4 class="chapter-title"><a data-gtm="gtm-toc-chapter" role="link" class="chapter-navigation" href="/chapters/mono/10.4324/9781315570280-2/attempting-engraft-italian-art-english-nature-maureen-mccue?context=ubx&amp;refId=714a0b08-b31d-46b7-8cd3-96c5d93ea6cd">Attempting ‘To Engraft Italian Art on English Nature’ </a><!----><!----></h4><!----><!----><!----><shared-lib-view-abstract viewdetailtext="Abstract" hidedetailtext="Abstract" _nghost-sc167=""><div _ngcontent-sc167="" class="view-abstract"><button _ngcontent-sc167="" data-toggle="collapse" data-target=".multi-collapse" aria-controls="multi-collapse" class="viewAbstractBtn" data-gtm="gtm-view-abstract" aria-expanded="false"> Abstract <!----><em _ngcontent-sc167="" data-gtm="gtm-view-abstract" class="icon-down btn-link"></em><!----></button><!----></div><!----></shared-lib-view-abstract><!----></div><!----></div></div><!----></div><div><div class="product-toc-wrapper"><div class="flex-container"><div class="chapter-title-pagenumber col-9"><h3 class="chapter-page-number"><product-chapter-page-number _nghost-sc166=""><span _ngcontent-sc166="" class="chapter-number"> chapter <span _ngcontent-sc166="">2</span><!----></span><span _ngcontent-sc166="" class="page-number">|</span><!----><span _ngcontent-sc166="" class="page-number"><span _ngcontent-sc166="" class="number-color">25</span>&nbsp;pages</span><!----></product-chapter-page-number></h3><h4 class="chapter-title"><a data-gtm="gtm-toc-chapter" role="link" class="chapter-navigation" href="/chapters/mono/10.4324/9781315570280-3/connoisseurship-maureen-mccue?context=ubx&amp;refId=cc85bba7-4e8b-4395-aa29-fd1759c3aa50">Connoisseurship </a><!----><!----></h4><!----><!----><!----><shared-lib-view-abstract viewdetailtext="Abstract" hidedetailtext="Abstract" _nghost-sc167=""><div _ngcontent-sc167="" class="view-abstract"><button _ngcontent-sc167="" data-toggle="collapse" data-target=".multi-collapse" aria-controls="multi-collapse" class="viewAbstractBtn" data-gtm="gtm-view-abstract" aria-expanded="false"> Abstract <!----><em _ngcontent-sc167="" data-gtm="gtm-view-abstract" class="icon-down btn-link"></em><!----></button><!----></div><!----></shared-lib-view-abstract><!----></div><!----></div></div><!----></div><div><div class="product-toc-wrapper"><div class="flex-container"><div class="chapter-title-pagenumber col-9"><h3 class="chapter-page-number"><product-chapter-page-number _nghost-sc166=""><span _ngcontent-sc166="" class="chapter-number"> chapter <span _ngcontent-sc166="">3</span><!----></span><span _ngcontent-sc166="" class="page-number">|</span><!----><span _ngcontent-sc166="" class="page-number"><span _ngcontent-sc166="" class="number-color">38</span>&nbsp;pages</span><!----></product-chapter-page-number></h3><h4 class="chapter-title"><a data-gtm="gtm-toc-chapter" role="link" class="chapter-navigation" href="/chapters/mono/10.4324/9781315570280-4/making-literature-maureen-mccue?context=ubx&amp;refId=cb75b611-2446-4b20-836d-2fbd10490731">Making Literature </a><!----><!----></h4><!----><!----><!----><shared-lib-view-abstract viewdetailtext="Abstract" hidedetailtext="Abstract" _nghost-sc167=""><div _ngcontent-sc167="" class="view-abstract"><button _ngcontent-sc167="" data-toggle="collapse" data-target=".multi-collapse" aria-controls="multi-collapse" class="viewAbstractBtn" data-gtm="gtm-view-abstract" aria-expanded="false"> Abstract <!----><em _ngcontent-sc167="" data-gtm="gtm-view-abstract" class="icon-down btn-link"></em><!----></button><!----></div><!----></shared-lib-view-abstract><!----></div><!----></div></div><!----></div><div><div class="product-toc-wrapper"><div class="flex-container"><div class="chapter-title-pagenumber col-9"><h3 class="chapter-page-number"><product-chapter-page-number _nghost-sc166=""><span _ngcontent-sc166="" class="chapter-number"> chapter <span _ngcontent-sc166="">4</span><!----></span><span _ngcontent-sc166="" class="page-number">|</span><!----><span _ngcontent-sc166="" class="page-number"><span _ngcontent-sc166="" class="number-color">33</span>&nbsp;pages</span><!----></product-chapter-page-number></h3><h4 class="chapter-title"><a data-gtm="gtm-toc-chapter" role="link" class="chapter-navigation" href="/chapters/mono/10.4324/9781315570280-5/samuel-rogers-italy-maureen-mccue?context=ubx&amp;refId=ca14c39a-4c4c-4d16-850b-febbc74f8912">Samuel Rogers's Italy </a><!----><!----></h4><!----><!----><!----><shared-lib-view-abstract viewdetailtext="Abstract" hidedetailtext="Abstract" _nghost-sc167=""><div _ngcontent-sc167="" class="view-abstract"><button _ngcontent-sc167="" data-toggle="collapse" data-target=".multi-collapse" aria-controls="multi-collapse" class="viewAbstractBtn" data-gtm="gtm-view-abstract" aria-expanded="false"> Abstract <!----><em _ngcontent-sc167="" data-gtm="gtm-view-abstract" class="icon-down btn-link"></em><!----></button><!----></div><!----></shared-lib-view-abstract><!----></div><!----></div></div><!----></div><div><div class="product-toc-wrapper"><div class="flex-container"><div class="chapter-title-pagenumber col-9"><h3 class="chapter-page-number"><product-chapter-page-number _nghost-sc166=""><span _ngcontent-sc166="" class="chapter-number"> chapter <!----></span><span _ngcontent-sc166="" class="page-number">|</span><!----><span _ngcontent-sc166="" class="page-number"><span _ngcontent-sc166="" class="number-color">5</span>&nbsp;pages</span><!----></product-chapter-page-number></h3><h4 class="chapter-title"><a 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Market&q;,&q;type&q;:&q;sales&q;,&q;description&q;:null,&q;validTo&q;:null,&q;validFrom&q;:null},{&q;name&q;:&q;EBRALL&q;,&q;code&q;:&q;EBRALL&q;,&q;text&q;:&q;Institutional, retail and Atypon&q;,&q;type&q;:&q;access&q;,&q;description&q;:null,&q;validTo&q;:null,&q;validFrom&q;:null},{&q;name&q;:&q;NORIGHTSMOB&q;,&q;code&q;:&q;NORIGHTSMOB&q;,&q;text&q;:&q;No Mobi&q;,&q;type&q;:&q;access&q;,&q;description&q;:null,&q;validTo&q;:null,&q;validFrom&q;:null}],&q;rights&q;:[],&q;book&q;:{&q;subtitle&q;:null,&q;description&q;:&q;As a result of Napoleon’s campaigns in Italy, Old Master art flooded into Britain and its acquisition became an index of national prestige. Maureen McCue argues that their responses to these works informed the writing of Romantic period authors, enabling them to forge often surprising connections between Italian art, the imagination and the period’s political, social and commercial realities. Dr McCue examines poetry, plays, novels, travel writing, exhibition catalogues, early guidebooks and private experiences recorded in letters and diaries by canonical and noncanonical authors, including Felicia Hemans, William Buchanan, Henry Sass, Pierce Egan, William Hazlitt, Percy Shelley, Lord Byron, Anna Jameson, Maria Graham Callcott and Samuel Rogers. Her exploration of the idea of connoisseurship shows the ways in which a knowledge of Italian art became a key marker of cultural standing that was no longer limited to artists and aristocrats, while her chapter on the literary production of post-Waterloo Britain traces the development of a critical vocabulary equally applicable to the visual arts and literature. In offering cultural, historical and literary readings of the responses to Italian art by early nineteenth-century writers, Dr McCue illuminates the important role they played in shaping the themes that are central to our understanding of Romanticism.&q;,&q;publisherImprint&q;:&q;Routledge&q;,&q;publicationDate&q;:&q;2016-05-23T00:00:00.000Z&q;,&q;copyright&q;:{&q;holder&q;:&q;Maureen McCue&q;,&q;year&q;:2014,&q;statement&q;:&q;Copyright © 2014 Maureen McCue&q;},&q;edition&q;:1,&q;doiRegistrationStatus&q;:true,&q;firstPublishedYear&q;:&q;2014&q;,&q;plannedPublicationDate&q;:&q;2016-05-31T00:00:00.000Z&q;,&q;abstracts&q;:[{&q;type&q;:&q;xml&q;,&q;position&q;:0,&q;caption&q;:null,&q;transcript&q;:null,&q;textType&q;:&q;blurb&q;,&q;value&q;:&q;&l;p&g;As a result of Napoleon&s;s campaigns in Italy, Old Master art flooded into Britain and its acquisition became an index of national prestige. Maureen McCue argues that their responses to these works informed the writing of Romantic period authors, enabling them to forge often surprising connections between Italian art, the imagination and the period&s;s political, social and commercial realities. Dr McCue examines poetry, plays, novels, travel writing, exhibition catalogues, early guidebooks and private experiences recorded in letters and diaries by canonical and noncanonical authors, including Felicia Hemans, William Buchanan, Henry Sass, Pierce Egan, William Hazlitt, Percy Shelley, Lord Byron, Anna Jameson, Maria Graham Callcott and Samuel Rogers. Her exploration of the idea of connoisseurship shows the ways in which a knowledge of Italian art became a key marker of cultural standing that was no longer limited to artists and aristocrats, while her chapter on the literary production of post-Waterloo Britain traces the development of a critical vocabulary equally applicable to the visual arts and literature. In offering cultural, historical and literary readings of the responses to Italian art by early nineteenth-century writers, Dr McCue illuminates the important role they played in shaping the themes that are central to our understanding of Romanticism.&l;/p&g;&q;}],&q;citation&q;:&q;McCue, M. (2014). British Romanticism and the Reception of Italian Old Master Art, 1793-1840 (1st ed.). Routledge. https://doi.org/10.4324/9781315570280&q;,&q;bindingStyle&q;:&q;eBook - General&q;,&q;bindingStyleCode&q;:&q;EBGE&q;,&q;publicationLocation&q;:&q;London&q;,&q;formerImprints&q;:[{&q;code&q;:&q;FIMPASH&q;,&q;description&q;:&q;Ashgate&q;}],&q;formatCode&q;:&q;EBK&q;,&q;format&q;:&q;e-Book&q;,&q;textType&q;:&q;Monograph (DRM-Free)&q;,&q;publisherArea&q;:&q;Humanities &a; Media Arts&q;,&q;publisherAreaCode&q;:&q;HUMMED&q;,&q;status&q;:&q;Available&q;,&q;toc&q;:&q;&l;![CDATA[Introduction, Maureen McCue; Chapter 1 Attempting ‘To Engraft Italian Art on English Nature’, Maureen McCue; Chapter 2 Connoisseurship, Maureen McCue; Chapter 3 Making Literature, Maureen McCue; Chapter 4 Samuel Rogers’s Italy, Maureen McCue; Chapter 102 Conclusion, Maureen McCue;]]&g;&q;,&q;counts&q;:[{&q;type&q;:&q;pagesArabic&q;,&q;count&q;:204}],&q;fundingGroups&q;:null,&q;license&q;:null},&q;identifiers&q;:{&q;isbn&q;:&q;9781315570280&q;,&q;isbn10&q;:&q;1315570289&q;,&q;dacKey&q;:&q;C2015-0-81657-6&q;,&q;editionId&q;:&q;503654&q;,&q;doi&q;:&q;10.4324/9781315570280&q;,&q;orderNumber&q;:&q;YE74565&q;,&q;titleId&q;:&q;300605&q;,&q;seriesIssn&q;:&q;2768-2838&q;,&q;oclcCatalogNumber&q;:&q;952727607&q;},&q;formats&q;:[{&q;format&q;:&q;epub&q;,&q;identifiers&q;:{&q;isbn&q;:&q;9781317171485&q;},&q;accessibility&q;:{&q;accessibilityFeature&q;:[&q;ARIA&q;,&q;index&q;,&q;pageBreakMarkers&q;,&q;pageNavigation&q;,&q;readingOrder&q;,&q;structuralNavigation&q;,&q;tableOfContents&q;,&q;alternativeText&q;,&q;displayTransformability&q;],&q;accessibilityHazard&q;:[&q;noSoundHazard&q;],&q;accessMode&q;:[&q;textual&q;,&q;visual&q;],&q;accessModeSufficient&q;:[&q;textual,visual&q;],&q;accessibilitySummary&q;:&q;This title is working towards, but does not yet fully meet the AA level of the Web Content Accessibility Guidelines. 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McCue&q;},&q;edition&q;:1,&q;doiRegistrationStatus&q;:false,&q;firstPublishedYear&q;:&q;2014&q;,&q;plannedPublicationDate&q;:&q;2016-05-31T00:00:00.000Z&q;,&q;inLanguage&q;:&q;eng&q;,&q;abstracts&q;:[{&q;type&q;:&q;xml&q;,&q;position&q;:1,&q;caption&q;:null,&q;transcript&q;:null,&q;textType&q;:&q;enriched&q;,&q;value&q;:&q;&l;p&g;This introduction presents an overview of key concepts discussed in the subsequent chapters of this book. The Romantic reception of Old Master art is a story partly about what happens when markers of high culture become available to a wider public; it traces the shift from the elite eighteenth-century ambition to be recognized as a person of taste to the nineteenth-century democratization of art. The book examines the impact of Italian art in Britain during the war years. It overviews the eighteenth-century discourse on art, but places it within the wider context of the European competition for cultural supremacy and academic artistic production. The book explores the development of a critical vocabulary equally applicable to the visual arts and literature, which locates the value of a work of art in the physical, emotional and sexual responses that it invites, thereby minimizing the difference between text and image.&l;/p&g;&q;}],&q;citation&q;:&q;McCue, M. (2014). Introduction. British Romanticism and the Reception of Italian Old Master Art, 1793-1840 (pp. 1-23). 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McCue&q;},&q;edition&q;:1,&q;doiRegistrationStatus&q;:false,&q;firstPublishedYear&q;:&q;2014&q;,&q;plannedPublicationDate&q;:&q;2016-05-31T00:00:00.000Z&q;,&q;inLanguage&q;:&q;eng&q;,&q;abstracts&q;:[{&q;type&q;:&q;xml&q;,&q;position&q;:1,&q;caption&q;:null,&q;transcript&q;:null,&q;textType&q;:&q;enriched&q;,&q;value&q;:&q;&l;p&g;The developing interest in the arts was part of a wider movement of sociability, taste and refinement that characterized late eighteenth-century British culture. The end of the eighteenth century was an important period for art in Europe, particularly in developing the concept and function of the museum. Unprecedented amounts of art moved across borders and circulated through galleries. While Britain&s;s aristocracy retained much of its political importance in the aftermath of the Napoleonic Wars, its cultural authority was diluted by the rising middle classes. The overthrow of the French aristocracy and Napoleon&s;s Italian campaigns were directly responsible for the availability of vast quantities of Italian art on British soil, as the Orleans sale and exhibition attest. The ideological investment in the intrinsic value of Italian art would continue to inform British attitudes toward Italy during the Risorgimento. Furthermore, it shaped and nurtured opposing views of Britain&s;s national school and the question of whether or not the arts were progressive.&l;/p&g;&q;}],&q;citation&q;:&q;McCue, M. (2014). Attempting ‘To Engraft Italian Art on English Nature’. British Romanticism and the Reception of Italian Old Master Art, 1793-1840 (pp. 25-62). 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McCue&q;},&q;edition&q;:1,&q;doiRegistrationStatus&q;:false,&q;firstPublishedYear&q;:&q;2014&q;,&q;plannedPublicationDate&q;:&q;2016-05-31T00:00:00.000Z&q;,&q;inLanguage&q;:&q;eng&q;,&q;abstracts&q;:[{&q;type&q;:&q;xml&q;,&q;position&q;:1,&q;caption&q;:null,&q;transcript&q;:null,&q;textType&q;:&q;enriched&q;,&q;value&q;:&q;&l;p&g;This chapter tracks the movement away from a binary debate between artists and aristocrats for authority, toward a Romantic preoccupation with cultural connoisseurship. Throughout the later eighteenth century, the effort made by professional institutions to raise the artist&s;s status from mechanical craftsman to inspired creator threatened the aristocratic claim that only educated; philosophically literate gentlemen were capable of appreciating art and cultivating taste. In the decades following Waterloo, travel to Europe likewise becomes more available to larger numbers of people. As James Buzard has demonstrated, the years following Waterloo mark the beginning of tourism as we know it today. Her language and the incident that she describes mimic Byron&s;s passage on the Uffizi and the Venus de&s; Medici in Childe Harold&s;s Pilgrimage. The nineteenth century, often called the age of the museum, witnessed a fierce competition between individuals and groups who demanded to be recognized as the authoritative guides to this new museum culture.&l;/p&g;&q;}],&q;citation&q;:&q;McCue, M. (2014). Connoisseurship. British Romanticism and the Reception of Italian Old Master Art, 1793-1840 (pp. 63-87). 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McCue&q;},&q;edition&q;:1,&q;doiRegistrationStatus&q;:false,&q;firstPublishedYear&q;:&q;2014&q;,&q;plannedPublicationDate&q;:&q;2016-05-31T00:00:00.000Z&q;,&q;inLanguage&q;:&q;eng&q;,&q;abstracts&q;:[{&q;type&q;:&q;xml&q;,&q;position&q;:1,&q;caption&q;:null,&q;transcript&q;:null,&q;textType&q;:&q;enriched&q;,&q;value&q;:&q;&l;p&g;This chapter examines the ways in which visual art acted as a springboard for the Romantic production of literature. Italian art was essential to the production of Romantic-period writing, which was multifaceted and informed by knowledge of the artist&s;s biography, his historical circumstances, by the known or imagined personality of the painter&s;s subject and by the writer&s;s own mood or temperament. This interest in biography and an increasing focus on the genius of the individual artist also worked to minimize the distinction between visual and written works of art, as did the new insistence that ideal beauty express itself through the particular. The growing stress on the sensuality of the experience of art gave rise to an increasing separation of female and male discourses, as demonstrated by the new tendency of male viewers in particular to abandon the Venus de&s; Medici in favour of Raphael&s;s Fornarina.&l;/p&g;&q;}],&q;citation&q;:&q;McCue, M. (2014). Making Literature. British Romanticism and the Reception of Italian Old Master Art, 1793-1840 (pp. 89-126). 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McCue&q;},&q;edition&q;:1,&q;doiRegistrationStatus&q;:false,&q;firstPublishedYear&q;:&q;2014&q;,&q;plannedPublicationDate&q;:&q;2016-05-31T00:00:00.000Z&q;,&q;inLanguage&q;:&q;eng&q;,&q;abstracts&q;:[{&q;type&q;:&q;xml&q;,&q;position&q;:1,&q;caption&q;:null,&q;transcript&q;:null,&q;textType&q;:&q;enriched&q;,&q;value&q;:&q;&l;p&g;The relationship between art and literature in Britain began to change in the mid-eighteenth century; by the 1830s, the visual and the verbal arts were increasingly interdependent and widely available to a growing middle class. Rogers&s;s Italy is the pleasant link between two quite different attitudes. Italy&s;s eventual success was the product of years of effort, heavy financial investment and a shrewd understanding of developments in the literary marketplace. Rogers&s;s Italy marks several key shifts in the literary and cultural marketplace of Britain, most notably the growing economic power of a female readership. Integral to the conceptual and material development of Italy was the timing of Rogers&s;s trips to the peninsula. He first travelled to Italy in October of 1814 and then returned in the autumn of 1821. Rogers&s;s first trip was unexpectedly cut short by Napoleon&s;s escape from Elba, and he left just six weeks before Waterloo.&l;/p&g;&q;}],&q;citation&q;:&q;McCue, M. (2014). Samuel Rogers&s;s Italy. British Romanticism and the Reception of Italian Old Master Art, 1793-1840 (pp. 127-159). 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McCue&q;},&q;edition&q;:1,&q;doiRegistrationStatus&q;:false,&q;firstPublishedYear&q;:&q;2014&q;,&q;plannedPublicationDate&q;:&q;2016-05-31T00:00:00.000Z&q;,&q;inLanguage&q;:&q;eng&q;,&q;abstracts&q;:[{&q;type&q;:&q;xml&q;,&q;position&q;:1,&q;caption&q;:null,&q;transcript&q;:null,&q;textType&q;:&q;enriched&q;,&q;value&q;:&q;&l;p&g;This chapter explains how travel, art and literature were interconnected and dependent on each other. The French Revolution and the Napoleonic Wars had dispersed aristocratic art collections throughout Europe, and Britain, which had had relatively impoverished holdings, became Europe&s;s cultural leader in the span of less than fifty years. Italian art was, in many ways, both familiar and unknown to British viewers at the turn of the nineteenth century. The more privileged viewers might own a work or an engraving, or have direct experience of important works through their travels. The chapter also explains Britain&s;s relationship with art but it closed with an examination of the fusion of British print and visual culture, a fusion made possible through the exploration of Italian culture in the intervening years. Italian art left an indelible mark on Romantic writings, even as such texts assigned new value to the Old Masters.&l;/p&g;&q;}],&q;citation&q;:&q;McCue, M. (2014). Conclusion. British Romanticism and the Reception of Italian Old Master Art, 1793-1840 (pp. 161-165). 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