The Pre-raphaelite Body
Fear and Desire in Painting, Poetry and Criticism
By (author) J. B. Bullen
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Pre-raphaelite Body by J. B. Bullen
Book DescriptionPre-Raphaelitism was the first avant-garde movement in Britain. It shocked its first audience, and as it modulated into Aestheticism it continued to disturb the British public. In this fresh and original study, Professor Bullen traces the sources of that shock to the representation of the human body. By examining the discourses which were developed to denounce or to explain the new art forms he shows that the distorted, maimed, or eroticized body formed the principal focus of anxiety in nineteenth-century criticism. Using a truly interdisciplinary method he relates the painting of Millais and other early Pre-Raphaelites to fears about cholera and Catholicism; he demonstrates how the body of the sexualized female became an object of obsessive fascination in the painting and poetry of Dante Gabriel Rossetti and William Morris; he locates the writing of Swinburne and Prater in the context of the debate over the 'Woman Question', and he shows how the responses to the 'Aesthetic' painting of Burne-Jones were conditioned by the sexual psychopathology of mid nineteenth-century mental science.
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Book DetailsISBN: 9780198182573
(225mm x 144mm x 20mm)
Imprint: Clarendon Press
Publisher: Oxford University Press
Publish Date: 15-Jan-1998
Country of Publication: United Kingdom
Books By Author J. B. Bullen
Thomas Hardy, Hardback (June 2013)
J. B. Bullen explores the relationship between reality and the dream, identifying the places and the settings for Hardy's writing.
Rossetti, Hardback (October 2011)
This richly illustrated book traces the development of Rossetti's painting and poetry in the context of the drama of his life.
Byzantium Rediscovered, Paperback (April 2006)
The revival of the art and architecture of the Byzantine Empire.
Continental Crosscurrents, Hardback (August 2005)» View all books by J. B. Bullen
Explores British attitudes to continental art during the nineteenth and early twentieth centuries and reveals some connections. This book explores Coleridge's enthusiasm for medieval art and Browning's distaste for Nazarene painting. It concludes with the British reaction to the primitivism of Gauguin.
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