In addressing ‘feeling and the Victorians’ we inevitably confront the Bloomsburian caricature in which, under the endless Where the visual and the musical combine, as in the realm of opera, further complexities emerge. The relationship of art and music sits at the fulcrum ofĪt least three academic disciplines - art history, musicology, and cultural history - and is methodologically troubling toĮach, as presently constituted. To represent, articulate, produce, or, indeed, repress feelings. Operate so effectively as metaphors beyond their disciplinary home), and coalesce around specific themes and preoccupations Of cultural production overlap, exist in counterpoint or in harmony (here as elsewhere I purposely borrow musical terms, which Object, is, though subject to the processes of time, static? At issue will be the ways these phenomenologically distinct aspects 1 How does a time-based medium, whose realization depends upon re-creative performance, relate to one whose product, the art This article examines historical objects that exist at the point of intersection of two radically incompatible media: artĪnd music. (2016) “Art, Music, and the Emotions in the Aesthetic Movement”,ġ9: Interdisciplinary Studies in the Long Nineteenth Century 2016(23). Integral to this discussion is the relationship between sexual desire and aesthetic pleasure at the point of intersection of art and music.
Focusing on the work of William Holman Hunt, Dante Gabriel Rossetti, James McNeill Whistler, Frederic Leighton, and Aubrey Beardsley, the article examines the claims of a realism in which the representation of emotions is achieved through narrative forms and close description of the material world, and a formalism which claims that the manipulation of abstract structures in art or music can directly affect the emotional state of the viewer or reflect that of the creator. It shows how they overlap, exist in counterpoint or in harmony, and coalesce around specific themes and preoccupations to represent, articulate, produce, or, indeed, repress feelings.
This article explores two phenomenologically distinct aspects of cultural production, art and music.
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