Description
A groundbreaking approach to the problem of realism in Tudor art
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In Tudor and Jacobean England, visual art was often termed “lively.” This word was used to describe the full range of visual and material culture-from portraits to funeral monuments, book illustrations to tapestry. To a modern viewer, this claim seems perplexing: what could “liveliness” have meant in a culture with seemingly little appreciation for illusionistic naturalism? And in a period supposedly characterised by fear of idolatry, how could “liveliness” have been a good thing?
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In this wide-ranging and innovative book, Christina Faraday excavates a uniquely Tudor model of vividness: one grounded in rhetorical techniques for creating powerful mental images for audiences. By drawing parallels with the dominant communicative framework of the day, Tudor Liveliness sheds new light on a lost mode of Tudor art criticism and appreciation, revealing how objects across a vast range of genres and contexts were taking part in the same intellectual and aesthetic conversations. By resurrecting a lost model for art theory, Faraday re-enlivens the vivid visual and material culture of Tudor and Jacobean England, recovering its original power to move, impress and delight.
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Distributed for the Paul Mellon Centre for Studies in British Art
