List of colour plates; List of illustrations; Acknowledgments; 1. Placing Shakespeare painting; 2. Play, iconography and social discourse in Hogarth's Shakespeare; 3. Landscape, readership and convention, 1740–90; 4. Fuseli and the uses of iconography; 5. George Romney: meditations of a volatile fancy; 6. 'Shakespeare in riper years gave me his hand': William Blake; 7. 'General ideas and the familiar pathetic': neo-classical Shakespeare and Joshua Reynolds; 8. Fuseli, nature and supernature; 9. Boydell, criticism and appropriation; 10. Summations and departures; Select bibliography.
A critical history of Shakespeare painting in its richest period - 1720–1820.
Currently Professor of English at the University of Bergen, Stuart Sillars was previously a member of the Faculty of English at the University of Cambridge, and has been a visiting professor at universities in Texas, Washington and Croatia. He has written extensively on the relationship between literature and the visual arts, with books including Art and Survival in First World War Britain (1987) and British Romantic Art and the Second World War (1991), and has had many articles and reviews published in major journals in the UK, Europe and the USA.
'... artists may be critics, but they do not speak for themselves; Stuart Sillars gives them some extremely interesting language.' Times Literary Supplement '...a scholarly and thorough account ... wisely acknowledging both the vastness of the subject and the important work already done in this area. Sillars negotiates the difficulties of drawing together many threads of research well ... makes for an engaging and compelling read ... the author's passion for his subject is most apparent and he is at his most engaging. Sillars' readings are both sympathetic and sensitive, displaying a wealth of knowledge and depth of research.' Shakespeare Bookshop Newsletter 'Anyone at all interested in this important aspect of Shakespeare studies will find the book immensely valuable and, indeed, an incentive for further research.' Jay Halio, Shakespeare Newsletter '... undoubtedly the best sustained piece of scholarly work to date on eighteenth-century ad Romantic uses of Shakespeare in the visual arts.' Michael Dobson, Shakespeare Quarterly 'This fascinating study gives inexhaustible hints and a fresh impetus to modern readers and theatre-goers for understanding Shakespeare more deeply in wider contexts of art and literature. The book undoubtedly deserves its unique place in art history and Shakespeare studies.' Shakespeare Studies '... this is an important book in both the history of the cultural construction of Shakespeare and the interpretation of images in relation to texts.' The Cambridge Quarterly 'Sillars masterfully demonstrates how some painters did produce powerful readings of Shakespeare's oeuvre: illuminating its meaning and refreshing their own pictorial practice ... a powerful reminder of the various uses, aesthetic as well political, to which Shakespeare was put during the Enlightenment and the Romantic age ...' Cercles
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