Romantic Horizons: Aspects of the Sublime in English Poetry and Painting, 1770-1850, Volume 10 |
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Page 20
aspects of the sublime in English poetry and painting, 1770-1850 James B. Twitchell. lins, Dyer, Cowper, and Thomson needed, the one thing that Richard Wilson, Thomas Rowlandson, Francis Wheatley, and Francis Towne lacked, ...
aspects of the sublime in English poetry and painting, 1770-1850 James B. Twitchell. lins, Dyer, Cowper, and Thomson needed, the one thing that Richard Wilson, Thomas Rowlandson, Francis Wheatley, and Francis Towne lacked, ...
Page 35
Aspects of the Sublime in English Poetry and Painting, 1770-1850 James B. Twitchell. By the later eighteenth century British landscape painting , with combined aims of greater truth and increased expressiveness , began to change .
Aspects of the Sublime in English Poetry and Painting, 1770-1850 James B. Twitchell. By the later eighteenth century British landscape painting , with combined aims of greater truth and increased expressiveness , began to change .
Page 53
The only point where all agree is that this is indeed a splendid painting , in fact , one of Blake's finest . Perhaps it is best simply to look at the painting first , before any symbolic reading , for it is rare that any two Blake ...
The only point where all agree is that this is indeed a splendid painting , in fact , one of Blake's finest . Perhaps it is best simply to look at the painting first , before any symbolic reading , for it is rare that any two Blake ...
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Contents
William Blake The Arlington Court Picture | 52 |
Evening | 78 |
W Turner The Slave Ship | 101 |
Copyright | |
8 other sections not shown
Common terms and phrases
achieved aesthetic Ancient appear artists attempt awareness beautiful became become Blake Byron called cave central century clearly clouds Coleridge color concerned consciousness considered Constable Constable's continue cosmic Cozens critics Cynthia daemons described earth edge effect elevated Endymion English especially eternal ethereal exist experience explain fact feel finally forms give heaven higher horizon human imagination important interest interpretations John Keats kind landscape light liminal lines look Manfred Martin matter meaning mind mountains nature never nineteenth objects once organized painters painting picture play pleasure poem poet poetry Prometheus psychological refers result romantic scene seems seen sense Shelley side soul space spirits structure Study sublime things thought threshold tion tradition trees turn Turner Unbound understanding universe vision visual Wordsworth