Victorian Olympus by Gaunt, William

Cardinal, 1975. Soft Cover. Very Good. Not Ex-Library Copy.Trade Paperback Edition.Text Unmarked.Binding Is Solid.Corners Slightly Bumped.Not Ex-Library Copy.

Cardinal Books, 29/05/1975 00:00:01. paperback. Good. **PAPERBACK**

Cardinal Books, 1975. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. Clean from markings In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,250grams, ISBN:0351164200

Cardinal Books, 1975. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In fair condition, suitable as a study copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,250grams, ISBN:0351164200

Cardinal: Sphere Books Ltd., London, 1975. Softcover. Good.

London : Sphere Books, 1975. Cardinal Edition. Softcover. Very good paperback copy; edges somewhat slightly dust-dulled and nicked. Remains particularly well-preserved overall; tight, bright, clean and strong. Physical description; 176 p., [16] p. of plates : ill. ; 20 cm. Subjects; Leighton of Stretton, Frederic Leighton Baron 1830-1896. Watts, George Frederick 1817-1904. Moore, Albert Joseph 1841-1893. Poynter, Edward John Sir, bart. 1836-1919. Alma-Tadema, Lawrence Sir 1836-1912. Elgin, Thomas Bruce Earl of 1766-1841.

London: Cardinal Books, 1975 On the back cover: In 1816 Lord Elgin transported the Parthenon sculptures from Athens to London, causing intense excitement in artistic circles. But it was not until the 1860s that painters began to adopt the classical style. The ensuing works of art were ideally suited to society's needs, and such was the harmony between them that the Royal Academy and its members prospered as never before, or since. The prominent artists of the day - Lord Leighton, E. J. Poynter, G. F. Watts, Albert Moore, Alma-Tadema - were all inspired by the Elgin Marbles', yet their interpretations were very different. Leighton's work was strictly classical, while Poynter's incorporated the styles of both Egypt and Rome; Albert Moore's ideal of beauty was founded on ancient Greece, but the girls he painted belonged as much to nineteenth-century London as to ancient Athens; and Alma-Tadema tried to show that aspects of Victorian society reflected a golden, classical age. Each of… Read More