Rather, Corbett's goal is to reintroduce-in the face of social art history's institutionalization-formal enquiries as equally relevant and rewarding modes of critical engagement.
He does not, in other words, advocate a pure formalism. This is not to say, however, that Corbett denies the relevance of historical context to analysis of a work of art. Corbett focuses, as his title suggests, on each artist's use of paint to communicate his relationship to the changing conditions of the modern world. To do this, he casts aside the precepts of social art history, which would view the works of the aforementioned artists as products of particular power relationships or ideological forces. In these investigations, Corbett convincingly undermines the assumption that "Victorian" and "modern" are mutually exclusive terms.
#Dali enigmo del deseo series
In this work, he presents a series of case studies, each of which attempts to uncover the often subtle formal intricacies of works by Dante Gabriel Rossetti, Edward Burne-Jones, William Holman Hunt, Frederic Leighton, and George Frederic Watts, as well as others. The World in Paint is perhaps Corbett's most ambitious project yet. Modernities and Identities (with Lara Perry ), his latest undertaking continues to challenge the long-standing orthodoxy that understands the history of modernism as generally Franco-American, possibly pertaining to the wider Continent, but certainly never English. Continuing the line of critical enquiry Corbett took up in his monograph The Modernity of English Art, 1914–1930 (1997) and his edited collections, including English Art, 1860–1914. The World in Paint: Modern Art and Visuality in England, 1848–1914 marks the next phase of David Peters Corbett's ongoing reassessment of English painting as representative of modernity and even of modernism.
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