Customer Reviews (3)

Gorgeous, but could be more
The author states at the outset that Leighton's life has already been well documented, so only enough of his biography appears here to frame the context for his pictures. Instead, Newall chooses to analyze the art itself, which "... presents the world a hard, glossy carapace apparently designed to resist the critic's probe." Given this unpromising premise, I opted to study the pictures themselves, and dip only lightly into the text analyzing that which resists analysis.

The pictures themselves are easy to enjoy - skillful, classical, and carefully designed to appeal to Victorian tastes and to create a position for Leighton within the hierarchies of art and society. (He succeeded in both.) Many of this books reproductions honor his work beautifully, in lush color and fine printing, on bright, opaque paper. Those images generally make the most of the book's largish size,. As a result, the reader can enjoy much of Leighton's meticulous detail in rendering romanticized images of contemporary and classical topics.

Something like half of the reproductions, however, are black and white, undersized for the book's large format, and sometimes murky. The book chooses not to address Leighton's life, except tangentially, but under-represents the visual impact of his art, too. The large, lovely color reproductions are very enjoyable, but might not be enough to deliver the value that a reader might expect.

-- wiredweird

One Grand Painter: A Victorian Icon
Lord Frederic Leighton stands at the top of the pinnacle of British art of the late nineteenth century.Though his images of dramatic, cloaked figures are easily recognizable, few art collectors or even museum visitors recognize the name of Lord Leighton.Now, with the resurgence of interest in this school of painting his name will certainly become more of a household word.

This slim though fine monograph is strong on images and less successful on information: Christopher Newell is a fine writer, he just wasn't given enough space to tell us much about the artist.Divided into sections - 'Outsider 1855 - 1864', 'Academician 1864 - 1878', and 'President of the Royal Academy 1878 - 1896' - Newell outlines the rise of this figurative artist and gives some insights as to his subject matter and influences.

But the beauty of this book is in the fine reproductions of his dramatic, grand, elaborate renderings of both historic and literary subjects.A bit on the kitsch side? Yes, but that was part of the Grand Victorian tradition.The paintings may be saccharine but oh, they are lovely to look at!Grady Harp, September 05

Great Pics and info
Though I thought it could be thicker the pictures are well viewed and some like "Flaming June" take the whole page, awesome! ... Read more

Book Description
Challenging the view that limits Frederic Leighton to the category of "Victorian artist," this collection of writings reinterprets Leighton`s work and reappraises his significance in the history of modern art. Leighton`s profound commitment to the ancient and renaissance past does not exclude him from an influential role in modern art, argue the authors; indeed it assures his position there. ... Read more

Customer Reviews (1)

masterly essays
A timely and convincing re-evaluation of an unfairly reviled Victorian master. Barringer and Prettejohn demonstrate that Leighton has borne the brunt of Modernist abuse for far too long. The full extent of hisachievement is brought out in this comprehensive and powerful collection ofessays, which show that 'Flaming June' and his other works are much morethan merely charming. I particularly liked Prettejohn's elegant account ofhis four major narrative pictures. Now at last critics can write aboutVictorian art openly, fairly and with insight. Leighton emerges as amasterly and subtle artist - not before time. ... Read more

Book Description
This original and eloquent study brings Frederic Leighton’s portrait of May Sartoris to life through the artist’s remarkable friendship with May’s mother, celebrated opera singer Adelaide Sartoris. The young Leighton frequented Adelaide’s artistic and literary salon in Rome in the early 1850s, and was on intimate terms with her by the time he painted her daughter’s likeness in England around 1860. Malcolm Warner places the work both within the tradition of British child portraiture since Joshua Reynolds and within its immediate biographical setting. Bringing together much new research into the circumstances of its creation, he suggests that its wistful mood and intimations of mortality may be a reflection of Leighton’s relationship with Adelaide as much as a response to his adolescent sitter. May Sartoris emerges as an evocation of the Romantic “child of nature,” a meditation on themes of innocence and experience, and above all a testament to friendship.

... Read more

Customer Reviews (1)

Worth the money!
A well-presented book; and most interesting details of the artist's life an times. Slight disappointment in the plates - not all in colour and not full-page size. It is however, an extensive look at the artist and hiswork, I believe worth owning if you are interested in the genre. Not sointerested myself in the sculpture side of his work and the small black andwhite photos of same do not show from all angles, but in general a goodpurchase. ... Read more