Neoclassicism

This book represents an ambitious attempt to shape a broad survey of neoclassical art from 1750-1830, effectively supplanting such standard works as Hugh Honour's Neo-classicism (last revised in 1977). The broad sweep Irwin intends can be seen in his opening promise that the book "embraces all manifestations of the Neoclassical style, looking not only at the movement's unusually broad territorial scope, but also at its versatility in every branch of art." He begins with the tradition of the "Grand Tour" of Italy by aspiring artists and young aristocrats, then examines the impact of classicism on public and private architecture, history painting, landscape paintings (and "picturesque" gardens), and interior decoration. Under the heading of the "maturity" of neoclassical art, Irwin critiques the political aspects of the classical tradition, the triumph of the tradition from "Washington to Sidney," and its continuing legacy. Irwin works in a clear and often engaging style, exhibiting tremendous breadth and confidence, whether dealing with Wedgwood vases or the politics of the Academy. Social and political concerns--though handled deftly--seem largely segregated into their own chapters, instead of interacting with formal and stylistic concerns throughout the book. The role of women in neoclassicism (as patrons and artists) is largely unexplored. A strong contribution to general and undergraduate libraries as well as graduate and professional collections. J. Hutton; Trinity University