{"id":{"repo_id":"essex","oai_identifier":"oai:repository.essex.ac.uk:19435"},"canonical_url":"https://search.dev.ndltd.org/etd/essex/oai:repository.essex.ac.uk:19435","repository":{"repo_id":"essex","name":"University of Essex","base_url":"https://repository.essex.ac.uk/cgi/oai2"},"display":{"title":"Roger Fry as a Protestant Art Critic","abstract":"This thesis argues that Roger Fry should, in part at least, be placed within a tradition of British, Protestant, art criticism. To this end I compare his work with that of the leading nineteenth-century British art critic John Ruskin. I discuss the problems both men had in engaging with a predominately Catholic art form, and place their work within a wider British tradition. I consider their personal histories and how they gave a similar interpretation of art history. I explore the work of both men on Venetian art and artists with particular references to Ruskin’s The Stones of Venice and Fry’s writings on Bellini and Giotto. I examine how Fry sought to distance artworks from the culture that produced them and how this affected his view on art history. I compare Fry’s aesthetic ideas with the Theocentric theory of art advanced by Ruskin in the second volume of Modern Painters. Here I compare their respective formalist ideas. I discuss how Fry’s formalism led him to reject Impressionism and champion the Post-Impressionists. I examine the controversy surrounding the 1910 and 1912 Post-Impressionist exhibitions and how they raised the question of the moral value and use of art. I end with a discussion of Ruskin’s concept of the Theoretic faculty and contend that Fry held a similar concept. Overall I argue for the presence of continuity between Fry’s early and later ideas on art criticism and history that can partly be explained by his religious background.","abstract_html":"This thesis argues that Roger Fry should, in part at least, be placed within a tradition of British, Protestant, art criticism. To this end I compare his work with that of the leading nineteenth-century British art critic John Ruskin. I discuss the problems both men had in engaging with a predominately Catholic art form, and place their work within a wider British tradition. I consider their personal histories and how they gave a similar interpretation of art history. I explore the work of both men on Venetian art and artists with particular references to Ruskin’s The Stones of Venice and Fry’s writings on Bellini and Giotto. I examine how Fry sought to distance artworks from the culture that produced them and how this affected his view on art history. I compare Fry’s aesthetic ideas with the Theocentric theory of art advanced by Ruskin in the second volume of Modern Painters. Here I compare their respective formalist ideas. I discuss how Fry’s formalism led him to reject Impressionism and champion the Post-Impressionists. I examine the controversy surrounding the 1910 and 1912 Post-Impressionist exhibitions and how they raised the question of the moral value and use of art. I end with a discussion of Ruskin’s concept of the Theoretic faculty and contend that Fry held a similar concept. Overall I argue for the presence of continuity between Fry’s early and later ideas on art criticism and history that can partly be explained by his religious background.","abstract_has_math":false,"creators":["Golden, James Michael"],"institution":"University of Essex","degree_name":"phd","degree_level":"doctoral","degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2017,"date_issued":"2017-04","date_published":"2017-04","updated_at":"2026-07-24T02:18:12Z","subjects":["C Auxiliary sciences of history (General)"],"languages":["en"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":null,"outbound_label":null,"outbound_source":null},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Golden, James Michael"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2017-04-04"]},{"key":"dc:date.issued","label":"Date","values":["2017-04"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Philosophy and Art History"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Essex"]},{"key":"dc:relation.isreferencedby","label":"Dc Relation Isreferencedby","values":["https://repository.essex.ac.uk/19435/"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["doctoral"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["phd"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["C Auxiliary sciences of history (General)"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://repository.essex.ac.uk/19435/1/James%20Golden%20Thesis%20April%202017.pdf"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["This thesis argues that Roger Fry should, in part at least, be placed within a tradition of British, Protestant, art criticism. To this end I compare his work with that of the leading nineteenth-century British art critic John Ruskin. I discuss the problems both men had in engaging with a predominately Catholic art form, and place their work within a wider British tradition. I consider their personal histories and how they gave a similar interpretation of art history. I explore the work of both men on Venetian art and artists with particular references to Ruskin’s The Stones of Venice and Fry’s writings on Bellini and Giotto. I examine how Fry sought to distance artworks from the culture that produced them and how this affected his view on art history. I compare Fry’s aesthetic ideas with the Theocentric theory of art advanced by Ruskin in the second volume of Modern Painters. Here I compare their respective formalist ideas. I discuss how Fry’s formalism led him to reject Impressionism and champion the Post-Impressionists. I examine the controversy surrounding the 1910 and 1912 Post-Impressionist exhibitions and how they raised the question of the moral value and use of art. I end with a discussion of Ruskin’s concept of the Theoretic faculty and contend that Fry held a similar concept. Overall I argue for the presence of continuity between Fry’s early and later ideas on art criticism and history that can partly be explained by his religious background."]},{"key":"dc:format","label":"Dc Format","values":["text"]},{"key":"dc:title","label":"Title","values":["Roger Fry as a Protestant Art Critic"]}]}],"canonical_facts":{"dc:creator":["Golden, James Michael"],"dc:date":["2017-04-04"],"dc:date.issued":["2017-04"],"dc:description.abstract":["This thesis argues that Roger Fry should, in part at least, be placed within a tradition of British, Protestant, art criticism. To this end I compare his work with that of the leading nineteenth-century British art critic John Ruskin. I discuss the problems both men had in engaging with a predominately Catholic art form, and place their work within a wider British tradition. I consider their personal histories and how they gave a similar interpretation of art history. I explore the work of both men on Venetian art and artists with particular references to Ruskin’s The Stones of Venice and Fry’s writings on Bellini and Giotto. I examine how Fry sought to distance artworks from the culture that produced them and how this affected his view on art history. I compare Fry’s aesthetic ideas with the Theocentric theory of art advanced by Ruskin in the second volume of Modern Painters. Here I compare their respective formalist ideas. I discuss how Fry’s formalism led him to reject Impressionism and champion the Post-Impressionists. I examine the controversy surrounding the 1910 and 1912 Post-Impressionist exhibitions and how they raised the question of the moral value and use of art. I end with a discussion of Ruskin’s concept of the Theoretic faculty and contend that Fry held a similar concept. Overall I argue for the presence of continuity between Fry’s early and later ideas on art criticism and history that can partly be explained by his religious background."],"dc:format":["text"],"dc:identifier.uri":["https://repository.essex.ac.uk/19435/1/James%20Golden%20Thesis%20April%202017.pdf"],"dc:language":["en"],"dc:publisher.department":["Philosophy and Art History"],"dc:publisher.institution":["University of Essex"],"dc:relation.isreferencedby":["https://repository.essex.ac.uk/19435/"],"dc:subject":["C Auxiliary sciences of history (General)"],"dc:title":["Roger Fry as a Protestant Art Critic"],"dc:type":["Thesis"],"dc:type.qualificationlevel":["doctoral"],"dc:type.qualificationname":["phd"]},"updated_at":"2026-07-24T02:18:12Z"}