Reviews Continental Crosscurrents: British Criticism and European ArtI8IO-I9IO. ByJ. B. BULLEN. Oxford and New York: Oxford University Press. 2005. X+ 297 pp. C50. ISBN: O-I9-8I869I-6 & 978-o-I9-8I8691-5. The separate chapters of J.B. Bullen's Continental Crosscurrents explore a series of impor tantmoments in the relationship between Britain and the art and architecture of continental Europe during thenineteenth century. If the subjects of the chapters vary considerably, so do thedominant personalities. There was Edmund Sharpe, the scholar architectwith a passion forRomanesque buildings; John Ruskin, passing his doomed honeymoon inVenice; and the relatively inexperienced AlfredWaterhouse winning the competition to design theNatural History Museum. These threewere high-minded Victorians, but the final essays, on British attitudes toGauguin's Polynesian paintings and on D. H. Lawrence and German sculpture, carry us into a different world, remind ing the reader of the lengthof thejourney from the 'crosscurrent'with which thebook opens -the reassessment of early Italian art inPisa. A common theme is the contention that theBritish, when led by forward-looking critics,could begin to respond to continental influences. Some of the conclusions are startlinglyoriginal. Bullen is amongst the firstto investigate theRomanesque Revival. How didcNorman architecture, initially seen as primitive, heavy, and ugly,become a popular source for laterVictorian buildings? Sharpe's extensive explorations in central Europe, and his own buildings in the north of England helped to change attitudes. Amongst thosewho followed his example was Sara Losh, who designed the church of StMary's, Wreay, inCumberland. Dante Gabriel Rossetti and his friend William Bell Scott, both admirers of StMary's, described thebuilding as 'Byzantine',whereas Losh herself, influenced by the symbolism of southern European churches, thought it 'early Saxon ormodified Lombard' (p. 72). 'Byzantine' isa keyword thatre-emerges ina laterchapter of Continental Crosscurrents. Here, however, the emphasis is on the influence of the great mural decorations in Ravenna. As Bullen points out, Roger Fry's enthusiasm forByzantine art echoed the earlier 'discovery'of 'primitive'Italian paintings. Fry isa key figurein the freshappraisal of Byzantine art; another was Matthew Prichard, a former deputy director of the Isabella StewartGardner Museum inBoston. Like Ruskin in Venice, orEdmund Sharpe in Southern Germany, Prichard had what Bullen calls a 'decisive conversion' (p. 234) when facedwith Byzantine art, seeing parallels with modern works, including those of Matisse. One of themost teasing speculations of thebook is tobe found in the finalchapter, where Bullen traces theconnections between Richard Moest, a German sculptorwhom D. H.Lawrence probably met inGargano in March I9I3, and theunlikable Loerke in Women inLove.Lawrence, as Bullen shows us, gave thename Moest toa character inone of his stories and must have seenMoest's statuetteof Godiva,whether as an original or 246 Reviews in reproduction. Lawrence's account of Loerke's appearance is similar to known portraits and photographs ofMoest. Bullen puts forward a convincing case forbeliev ing thatMoest's 'strong,but mainly unpleasant, impression on him, and his Godiva statuetteexemplified forLawrence something of theemotionally cold aloofness of early twentieth-century aestheticism' (pp.26I-62). This isa scholarly and challenging book, demonstrating an impressiveunderstanding of nineteenth- and early twentieth-centurycriticism and cultural developments. There are, however, a fewproof-reading lapses. The comparison of Spencer Gore's painting of the public viewing post-impressionist paintings at the StaffordGallery in I9II and Gauguin's Visionof the Sermon,forexample, ismade even more striking when, as here (pp. 222-23), the images have been transposed! KING'S COLLEGE, LONDON LEONEE ORMOND The OxfordEnglishLiterary History,Volume X: I9IO-I940: TheModern Movement.By CHRIS BALDICK. Oxford: Oxford University Press.2004.xvii+ 477PP.?32 (pbk ?I8.99). ISBN:0-I9-8I8310-0 & 978-0-I9-8I8310-5 (pbk 0-I9-928834-8 & 978-0-I9-928834-2). Chris Baldick believes that academic literarycritics generally misrepresent the period 1910-I940 as the triumphof the revolution thatwe callmodernism amovement that 'was in itsown timeaminority current' (p. 3). For Baldick thedominant tendency in the poetry of theperiod was 'not thatof "modernism" but of realism' (p. IO7),and he argues that it is misleading to seemodernism as a revoltagainst realism. So far as prose fiction isconcerned, he remarks that 'theopposite of realism isnotmodernism; it is,as ithas been forcenturies, romance, or fantasy,or fable' (p. 212). His case restson...
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