![]() ![]() Set within an undefined period and in an unknown geographical setting, Cain blurs the lines between history and modernity. It is a similar but uncanny world in which we find Vitória, a museum cleaner who stars in Amina Cain’s debut novel, Indelicacy, published in February this year. As a woman born of comparatively simple means, Jameson’s trajectory into the upper echelons of nineteenth century intelligentsia was uncommon, and Ruskin’s distaste a mirror to the attitude held by the society Jameson moved within. Anna Jameson, Irish immigrant turned critic and art historian was staying at the same hotel she too was gathering notes on Venetian painting for her soon-to-be-published tome, Sacred and Legendary Art (1848).ĭespite the novels to Jameson’s name and her deep understanding of how to look at and write about art, Ruskin had in 1845 taken his pen and pronounced in a letter to his father that Ms Jameson “knows as much of art as the cat.” Behind this sneer is a simpler message about who can and can’t write about art. Upon reaching his hotel, Ruskin soon discovered the appearance of another noted academic, one whom also held some notoriety within the tightly wound circles of the British intellectual elite. In 1847, John Ruskin arrived in a wet and rainy Venice, eager to begin research for his upcoming study, The Stones of Venice (1851-53). ![]() ![]() Luis Ricardo Falero, Witches Going to Their Sabbath, 1878 ![]()
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