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M orton D. P aley , Samuel Taylor Coleridge and the Fine Arts (Oxford: Oxford University Press, 2008), pp. 296. £49.00 hardback. 978-0-19-923305-2.

M orton D. P aley , Samuel Taylor Coleridge and the Fine Arts (Oxford: Oxford University Press,... Romanticism interest in the arts awakened by Beaumont and deepened by Allston, Coleridge had confidence in his autonomous judgment’ (136). By the time he returns from Italy in 1806 he considers himself an able art critic and plans to give a lecture on fine art at the Royal Academy. After this time Coleridge is shown moving in London’s art circles and confident in his opinions on the subject. The majority of the work reads like a fluidly written biography. Coleridge’s artistic life unfolds through a narrative that traces his footsteps to various galleries and private collections, gives details of the particular works of art that he saw there and intersperses this with some of Coleridge’s comments on the works of art. As such it provides a useful resource for those seeking factual information on the dates and places he saw certain works. However, there is little analysis of Coleridge’s ideas on art in the first four chapters or on how his experience of or opinions on art transfer to his poetry. It is regrettable that Paley does not give more attention to critical reflection upon Coleridge’s observances or upon Coleridge’s skills as an art critic in this section. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Romanticism Edinburgh University Press

M orton D. P aley , Samuel Taylor Coleridge and the Fine Arts (Oxford: Oxford University Press, 2008), pp. 296. £49.00 hardback. 978-0-19-923305-2.

O'Connell, Anita
Romanticism , Volume 16 (3): 324 – Oct 1, 2010
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press 2010
Subject
Reviews; Literary Studies
ISSN
1354-991X
eISSN
1750-0192
DOI
10.3366/rom.2010.0107
Publisher site
See Article on Publisher Site

Abstract

Romanticism interest in the arts awakened by Beaumont and deepened by Allston, Coleridge had confidence in his autonomous judgment’ (136). By the time he returns from Italy in 1806 he considers himself an able art critic and plans to give a lecture on fine art at the Royal Academy. After this time Coleridge is shown moving in London’s art circles and confident in his opinions on the subject. The majority of the work reads like a fluidly written biography. Coleridge’s artistic life unfolds through a narrative that traces his footsteps to various galleries and private collections, gives details of the particular works of art that he saw there and intersperses this with some of Coleridge’s comments on the works of art. As such it provides a useful resource for those seeking factual information on the dates and places he saw certain works. However, there is little analysis of Coleridge’s ideas on art in the first four chapters or on how his experience of or opinions on art transfer to his poetry. It is regrettable that Paley does not give more attention to critical reflection upon Coleridge’s observances or upon Coleridge’s skills as an art critic in this section.

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Romanticism – Edinburgh University Press

Published: Oct 1, 2010

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