Marcin żurawiecki Gliwice

'Pre-Raphaelite Art in the Victoria and Albert Hall Museum,

For those who do not know and I have not drunk with the subject, let me say that since the beginning of the year, I prepare an memory. The current phase is less draule it is me starting to write, but this is not the purpose of the day. I decided, for some time, to devote myself to the Pre-Raphaelites. An article comes at a fascinating art school English in the 19th century, but today I wanted to talk about the last book I read about them, found a sympathetic London bookstore.

As its name implies, P re-Raphaelite Art in the Victoria and Albert Hall Museum is a study of museum collections, which are also well beyond the few pieces of furniture or upholstery that j 'I could see the V & A. It therefore holds forth on the Pre-Raphaelite painting but also on the stained glass, tapestries, furniture ...

The work is perhaps not the most exhaustive that I cross, but it has the merit of being clear, concise, well written (I bless the English who, unlike their fellow French university, not not seeking complexity when This process of theoretical subjects) and for once, we do not have pages and pages that relate the stories of artists buttocks certainly exciting but hardly useful for the analysis strictly artistic.

What is remarkable with Suzanne Fagent Cooper is the objectivity of his analysis, unlike a Hilton or a Timothy Tim Barringer. Overall, I feel that this neutrality characterizes women who approach the subject, if we exclude of course the ultra feminist studies, provocative and ultimately Pamela Gerrish Nunn poor and Jan Marsh.

's book Fagent Ms Cooper therefore organized into themes such as Religion, Literature and Legends, Women and Sexuality, Realism, Music, focusing however to describe the distinctive features of the works of the second generation Pre-Raphaelites, led by Rossetti and Burne-Jones. While I found it a bit far forced upon it, and if she speaks a little too much for my taste, the accurate analysis of works are researched and extremely rich, both in terms of the form and the technique used as themes and interpretation.

What I find most interesting is the chapter on Legends, Literature and Women, which is good since it is on these topics that I work in my memory. His study of sexuality and representation of women is remarkably lucid, contrary to the crowd of critics who do nothing but take a look of mingled fear and admiration.

Finally, Suzanne Cooper Fagent quite successful in recreating the impression that emerges when the viewer is confronted with the Pre-Raphaelite art: a sense of "refinement" of "delicacy" as is liked to show Oscar Wilde. I therefore advise

this book to all lovers of Victorian art, but knowing he must still find a minimum history of Pre-Raphaelite Brotherhood The order to appreciate the prose of the author.