Fine copy throughout in fine unclipped dust wrapper that has minimal storage markings. His terse and vigourous account has provided a landmark for social historians and literary critics, as well as historians of art. Throughout the book, Barrell draws illuminating comparisons with the literature of rural life and with the work of other painters. His books include The Dark Side of the Landscape: The Rural Poor in English Painting, 1730-1840 and The Political Theory of Painting from Reynolds to Hazlitt: The Body of the Public. His discussion focuses on the work of three painters: Thomas Gainsborough, George Morland and John Constable. John Barrell is an emeritus professor of English at Queen Mary, University of London and an honorary fellow of King’s College, Cambridge and of the British Academy. but in the shadows-on the dark side of the landscape of Dr Barrells title-will be repressive actuality.
to a continual struggle, at once to reveal more and more of the actuality of the life. Wilsons stately landscapes of antique Rome and Augustan England now bore the. John Barrell sees the poets and painters of the years I730-I840 as committed. John Barrell's influential 1980 study shows why the poor began to be of such interest to painters, and examines the ways in which they could be represented so as to be an acceptable part of the decor of the salons of the rich. John Barrells The Dark Side of the Landscape, Michael Rosenthals. The eighteenth-century saw a radical change in the depiction of country life in English painting: feeling less constrained by the conventions of classical or theatrical pastoral, landscape painters attempted to offer a portrayal of what life was really like, or was thought to be like, in England and this inevitably involved a distinct approach to the depiction of the rural poor.
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