(Neoclassicism & Romanticism – Architecture){Neoclassical Architecture}[continued][Extracts from source text with ms notes][12th May 1991]

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[continued]

*

*– E[ncyclopaedia] B[ritannica] 13:1023

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[continued]

*

*– E[ncyclopaedia] B[ritannica] 13:1023

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{Neoclassical and Romantic Art [continued (39)]} Neoclassical and Romantic Sculpture [Extracts from source text with ms notes][12th May 1991]

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[continued]

(There is nothing on {‘}Romantic{’} sculpture per se, but an article on 19th-century [ce] popular sculpture and its reproductions)*

*[in Encyclopaedia Britannica, presumably]

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[continued]

‘… There hardly exists in any Neoclassical sculptor’s work a convincing image of rage.’*

**

*

C

{↑}\{↑}

s

** – ibid [Encyclopaedia Britannica 27:] 105

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[continued]

‘The exuberance and “fury” of the Baroque must be avoided, it was argued, because they led to “barbarous” and “wicked” works. Continuing in this tradition, Winckelmann, for example, argued that the Italian Baroque sculptor & architect Bernini * had been “misled” by following nature.’

**

*{cf IX: [[Redbook9:320][19910511:1000g]{‘The Baroque’ [Extracts from source text with ms notes][continued (7)]}[11th May 1991]](&f),}

**– ibid [Encyclopaedia Britannica 27:104]

(& cf Encyclopaedia Britannica 25:361c[irca], re painting; much of this article is word-for-word the same as part of that)

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{Neoclassical and Romantic Art [continued (36)]} Neoclassical and Romantic Sculpture [Extracts from source text with ms notes][12th May 1991]

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[continued]

*

*’...ological evidence, implemented it more fully than had any of their predecessors.’

**

***

*[Source text reproduced above continues in ts line immediately following]

**(Note also the controversy on whether to represent modern heroes sculpted (or painted) in ancient or modern dress – or nude)

***– E[ncyclopaedia] B[ritannica] 27:[103-]104

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{Neoclassical and Romantic Art [continued (36)]}{Romantic Painting}[Extracts from source text with ms notes][12th May 1991]

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[continued]

This* is really an acknowledgement of defeat by the impossibility of extracting or abstracting 19^th century [ce] Romanticism – or of separating it from its historical context. This way, at least I can try again later (eg by marginal notes).

*[Presumably a reference to the fact that the whole of the section on Romanticism (pp361-366) (of which extracts are reproduced above)** from ‘The History of Western Painting’ in Encyclopaedia Britannica 25:322-378 is photocopied into the ms; all ms notes on this, with one possible exception, were added at later dates]

**[[Redbook10:11][19910512:1718s]{Neoclassical and Romantic Art [continued (19)]}{Romantic Painting}[Extracts from source text with ms notes][12th May 1991]ff (to last previous journal entry]

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[continued]

*

**

*[Marginal note above:]

{64M~1808|U~1816[ce]}

**[– ibid (Encyclopaedia Britannica 25:) 366]

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[continued]

*

**

*[Marginal note above:]

[Emphasis mark as reproduced above]

[‘Plate 20’ – not reproduced in ms or ts]

**[– ibid (Encyclopaedia Britannica 25:) 365]

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[continued]

*

**

*[Marginal note above:]

{([[Redbook10:137][19910518:0925]{Symbolism and Art Nouveau}[18th May 1991],] p137)}

**[– ibid (Encyclopaedia Britannica 25:) 364]

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[continued]

*

**

*[Marginal notes above, in order from top:]

{eg [[Redbook10:35][19910513:0916#]{Neoclassical and Romantic Art [continued (#)]}Romanticism [Extracts from source text with ms notes][12th May 1991],] 47,

[[Redbook10:35][19910513:0916#]{Neoclassical and Romantic Art [continued (#)]}Romanticism [Extracts from source text with ms notes][12th May 1991],] 49}

{64U~1816}

{[[Redbook10:35][19910513:0916#]{Neoclassical and Romantic Art [continued (#)]}Romanticism [Extracts from source text with ms notes][12th May 1991],] 49}

**[– ibid (Encyclopaedia Britannica 25:) 364]

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[continued]

*

**

*[Marginal note above:]

{J~ ([unclear])}

**[– ibid (Encyclopaedia Britannica 25:) 363-364]

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[continued]

*

*[– ibid (Encyclopaedia Britannica 25:) 363]

[Re Nazarenes, see next ts journal entry]

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{Neoclassical and Romantic Art [continued (29)]}{Romantic Painting}[Extracts from source text with ms notes][12th May 1991]

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[continued]

*

**

*[Plate 20 – ‘Weymouth Bay’ by John Constable, 1816 (National Gallery, London);

Plate 21: ‘Snow Storm – Steam-Boat off a Harbour’s Mouth’ by JMW Turner, 1842(Tate Gallery, London).

Neither work is reproduced in the ms or the ts]

**[– ibid (Encyclopaedia Britannica 25:) 362-363]

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[continued]

*

**

*[Marginal note above:]

[– Probably an emphasised attention mark rather then a bold ‘I’]

**[– ibid (Encyclopaedia Britannica 25: 362)]

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[continued]

*

*[– ibid (Encyclopaedia Britannica 25: 362)]

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