Victorian Art History
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Bibliographic Data
| ID | 12411587 |
|---|---|
| Authors | Joseph A Kestner (University of Tulsa, corresponding author) |
| Year | 2001 |
| Volume | 29 |
| Issue | 1 |
| Pages | 149-158 |
| Publication date | 2001-03-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Victorian Literature and Culture (JOURNAL) |
| Journal identifiers | ISSN: 1060-1503 • E-ISSN: 1470-1553 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s1060150301291098 |
| OpenAlex | W2122072936 |
| Language | EN |
A T THE END OF THE TWENTIETH CENTURY , Victorian painting experienced at least one mass media event, so far as circulation is concerned — the appearance of Frederic Leighton’s The Bath of Psyche (1890) on the wall of the drug kingpin in Paul Thomas Anderson’s notorious film Boogie Nights of 1997. As a ferocious deal is going awry, over the desperate dealers looms one of the masterpieces of the Victorian High Renaissance, a commentary through the cool classicism of the late Victorians about the corresponding fin-de-siècle of the lately finished century. It is a stunning moment — perhaps recognized only by historians of British art — but there it is nonetheless. One is to presume that the dealer has acquired the original from the Tate Gallery, since he would never own a copy, let alone a poster! Busboy superstud Mark Wahlberg has brief, violent contact with a masterpiece
Art · Art history · Classicism · Decadence · Literature · Painting · Psyche · The Renaissance · Art History and Market Analysis · Historical Art and Culture Studies · Philosophy
| Highly cited | No |
|---|