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Byron and Marginality$
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Norbert Lennartz

Print publication date: 2018

Print ISBN-13: 9781474439411

Published to Edinburgh Scholarship Online: May 2021

DOI: 10.3366/edinburgh/9781474439411.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 30 July 2021

A Marginal Interest? Byron and the Fine Arts

A Marginal Interest? Byron and the Fine Arts

Chapter:
(p.271) Chapter 14 A Marginal Interest? Byron and the Fine Arts
Source:
Byron and Marginality
Author(s):

Richard Lansdown

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474439411.003.0014

Byron has always been regarded as the possessor of a tin ear when it came to art. But once he took up residence on the Continent in 1816 he could hardly avoid paintings, especially when fellow-travellers like John Polidori, John Cam Hobbhouse and Stendhal insisted on showing him the galleries full of Flemish art in Belgium or Italian old masters in Milan, Venice, Florence and Rome.The essay works out what exactly he saw in all these places, and comments on what he had to say. In particular, it draws together an ‘Italian composite’ of feminine portraits, and ponders the question whether it is style or subject that we respond to in painting.

Keywords:   Byron and painting, John Polidori, John Cam Hobbhouse, Napoleonic art theft, Dilettantism, Manfrin collection

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