BROKEN VOWS AND BROKEN HOMES: THE POLITICS OF PRE-RAPHAELITISM IN FLORENCE CLAXTON'S THE CHOICE OF PARIS.

The article explores the politics of pre-Raphaelitism in "The Choice of Paris: An Idyll," an oil painting by English female artist Florence Caxton. Topics include the painting's condemnation of the Pre-Raphaelite Brotherhood in terms of the early criticism leveled against them, her representation of...

Descripción completa

Detalles Bibliográficos
Publicado en:Journal of Pre-Raphaelite Studies Vol. 24; pp. 4 - 35
Autor principal: Horrocks, Jamie
Formato: Artículo
Publicado: York University Fall2015
Materias:
Acceso en línea:Ver este registro en EBSCOhost
fields @attributes:
  recordID: 1
pdfLink:
plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=111495093&site=ehost-live
header:
  @attributes:
    shortDbName: hlh
    uiTerm: 111495093
    longDbName: Humanities International Complete
    uiTag: AN
  controlInfo:
    bkinfo:
    jinfo:
      jid:
        1060149X
        QTD
      jtl: Journal of Pre-Raphaelite Studies
      issn: 1060149X
      maglogo: N
    pubinfo:
      dt: Fall2015
      vid: 24
      pid: 16779
      pub: York University
    artinfo:
      ui: 111495093
      ppf: 4
      ppct: 31
      formats:
      tig:
        atl: BROKEN VOWS AND BROKEN HOMES: THE POLITICS OF PRE-RAPHAELITISM IN FLORENCE CLAXTON'S THE CHOICE OF PARIS.
      aug:
        au: Horrocks, Jamie
      su:
        Pre-Raphaelites
        Pre-Raphaelitism
        Italian influences on English art
        Painting
        Caxton, Florence
      sug:
        subj:
          Pre-Raphaelites
          Pre-Raphaelitism
          Italian influences on English art
          Painting
          Caxton, Florence
      ab: The article explores the politics of pre-Raphaelitism in "The Choice of Paris: An Idyll," an oil painting by English female artist Florence Caxton. Topics include the painting's condemnation of the Pre-Raphaelite Brotherhood in terms of the early criticism leveled against them, her representation of the pre-Raphaelitism's acceptance by British art establishment, and the painting's claim about the fundamental disingenuousness of art criticism.
      pubtype: Academic Journal
      doctype: Article
      src: R
    language: English
    refInfo:
    copyright:
      @attributes:
        flag: Y
      dt:
        @attributes:
          year: 2015
    holdings:
      @attributes:
        islocal: N