Identity Politics: The Year in the UK

Identity Politics: The Year in the UK identity politics the year in the uk tom tonover In Kenneth Clark: Life, Civilisation and Art, James Stourton does not follow the lead of a subject who pursued autobiography both for its own sake and with ulterior motives: his authorial “I” is kept to a minimum, or tucked into footnotes or the latter stages of the book. Stourton does, however, frequently respond in kind to his subject’s sheer writerliness and what he perceives as Clark’s desire to amuse through a mastery of the anecdote (Stourton 378). In the first case, there are passages such as, “He was never theatrical, but knew when to bring the audience into the freemasonry of the profession—for instance, drawing people’s attention to the only area in Giorgione’s Castel- franco Madonna that has never been repainted” (227). In the second, while we learn the solid historical facts of how much Clark shaped twentieth- century Britain through his roles at the Ashmolean Museum, the National Gallery, the Royal Opera House, the wartime Ministry of Information and War Artists’ Advisory Committee, the beginnings of Independent Television, and art history through books such as The Nude (1956), we also learn that Clark was reduced to a sneezing fit http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Biography University of Hawai'I Press

Identity Politics: The Year in the UK

Biography, Volume 40 (4) – Mar 8, 2018

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Publisher
University of Hawai'I Press
Copyright
Copyright © Biographical Research Center
ISSN
0162-4962
eISSN
1529-1456

Abstract

identity politics the year in the uk tom tonover In Kenneth Clark: Life, Civilisation and Art, James Stourton does not follow the lead of a subject who pursued autobiography both for its own sake and with ulterior motives: his authorial “I” is kept to a minimum, or tucked into footnotes or the latter stages of the book. Stourton does, however, frequently respond in kind to his subject’s sheer writerliness and what he perceives as Clark’s desire to amuse through a mastery of the anecdote (Stourton 378). In the first case, there are passages such as, “He was never theatrical, but knew when to bring the audience into the freemasonry of the profession—for instance, drawing people’s attention to the only area in Giorgione’s Castel- franco Madonna that has never been repainted” (227). In the second, while we learn the solid historical facts of how much Clark shaped twentieth- century Britain through his roles at the Ashmolean Museum, the National Gallery, the Royal Opera House, the wartime Ministry of Information and War Artists’ Advisory Committee, the beginnings of Independent Television, and art history through books such as The Nude (1956), we also learn that Clark was reduced to a sneezing fit

Journal

BiographyUniversity of Hawai'I Press

Published: Mar 8, 2018

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