The artist as original genius : Shakespeare's "fine frenzy" in late eighteenth-century British art /
William L. Pressly.
Newark [Del.] : University of Delaware Press, c2007.
235 pages : illustrations.
9780874139853 (alk. paper)
More Details
Newark [Del.] : University of Delaware Press, c2007.
9780874139853 (alk. paper)
contents note
Part I: Challenging Emulation -- Part II: Being a Shakespeare in Art: 1. John Hamilton Mortimer and the primacy of unbridled imagination; 2. Appearance and reality: John Hamilton Mortimer's Belisarius and Caius Marius; 3. The Runciman Brothers; 4. Henry Fuseli: Shakespeare's painter; 5. James Jeffery's appropriation of Shakespeare's mantle; 6. James Barry: The artist as martyr; 7. George Romney: The untutored genius -- Part III. Being a Shakespeare in Poetry: 8. Alienation, persecution, and liberation through sacrificial death; 9. Literally being Shakespeare: W. H. Ireland and Samuel Ireland -- Conclusion.
catalogue key
Includes bibliographical references and index.
A Look Inside
Full Text Reviews
Appeared in Choice on 2008-08-01:
The study of Shakespeare and British visual arts has been broached before, usually in the confined format of exhibition catalogues, the most recent being J. Martineau et al.'s Shakespeare in Art (CH, May'04, 41-5095). The essays there ranged widely in subject and period (stage scenery, actors' portraits, illustrated editions, and more). Pressly (Univ. of Maryland) offers a more focused discussion that is at once an elegant summary of much of the foregoing and a deep elaboration, using both Shakespeare's persona and the illustrations of his plays to locate several issues that were of utmost importance for the generation of late-18th-century artists and thinkers. One was the sensed inferiority of British efforts in painting and sculpture vis-a-vis the Continent: Shakespeare, whose shattering of dramatic dicta for expressive sway thus became the model of true native "genius," provided license for painters to explore the emotional power of lurid colors, erratic compositions, and frenetic subjects. This unrestrained address to the viewer's imagination coincides with the interest in the sublime, that cultivation and search for the irrational that so fascinated the poets and artists of the period. A succinct, erudite contribution. Summing Up: Highly recommended. Lower-level undergraduates through professionals; general readers. L. R. Matteson formerly, University of Southern California
This item was reviewed in:
Reference & Research Book News, May 2008
Choice, August 2008
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Table of Contents
The Resurrection of History Painting in British Artp. 15
Setting the Stage: Establishing a School of History Painters Native to the Soilp. 16
Challenging Emulationp. 25
Tradition's Crippling' Burdenp. 25
Genius, That God Withinp. 26
Giants and Dwarfs: Imitation, Plagiarism, and Geniusp. 28
Swift's fable: Whether 'Tis Nobler to be a Bee or a Spiderp. 30
The Great Magician: The Promise of Shakespeare's Inspired Examplep. 30
Boydell's Shakespeare Galleryp. 34
Being a Shakespeare in Artp. 37
John Hamilton Mortimer and the Primacy of Unbridled Imaginationp. 39
Horrible Imaginingsp. 39
Preternatural Beingsp. 41
Works of Chancep. 46
Shakespeare's Legacyp. 49
A Sick Man's Dream: The English Salvator Rosap. 59
Appearance and Reality: John Hamilton Mortimer's Belisarius and Cains Mariusp. 73
Defying and Defiling Academic Standardsp. 73
The Road of Excessp. 83
The Runciman Brothersp. 84
John: As Night Follows the Dayp. 84
Alexander: The Creator of Tempests, or the Artist as Magicianp. 88
Henry Fuseli: Shakespeare's Painterp. 95
Pioneering a New Role for the History Painter in British Artp. 96
A Worshiper of Shakespearep. 98
The Apotheosizing of Shakespearep. 101
Fuxeli's Participation in Buydell's Shakespeare Gallery: Two Aspects of Imagination - A Fine Frenzy Glowing and the Fairy Wayp. 105
The Artist as Satanic Creatorp. 110
James Jefferys' Appropriation or Shakespeare's Mantlep. 112
Two Self-Portraits: Youthful Imagination Bodies Forthp. 113
The Roman Cauldron: An Englishman in Italyp. 121
Shakespeare for the Ages: Heroic Nudityp. 128
James Barry: The Artist as Martyrp. 139
The Lear of British Artp. 139
Shakespeare as Barbaric Gothp. 146
Imitatio Christip. 148
George Romney: The Untutored Geniusp. 151
The Creative Core: The Shakespearean Connectionp. 151
The Infant Shakespearep. 152
Romney's Shakespearean Personasp. 153
Pleasures of the Imagination: Romney's Historical Drawingsp. 157
Being a Shakespeare in Poetryp. 161
Alienation, Persecution, and Liberation through Sacrificial Deathp. 163
Thomas Chatterton, Bristol's Shakespearep. 163
The Love-Dream of Chatterton's Unrecorded Facep. 165
John Flaxman's Memorials to Chattertonp. 171
The Dance of Eternal Death: Chatterton as the Inspiration for Blake's Albion Rosep. 177
Literally Being Shakespeare: W. H. Ireland and Samuel Irelandp. 184
Conclusionp. 189
The Guts of Modern Brainsp. 189
Soaring Eagles and the Marketplacep. 190
The Aesthetic of Original Geniusp. 198
Notesp. 201
Selected Bibliographyp. 223
Indexp. 227
Table of Contents provided by Blackwell. All Rights Reserved.

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