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Paradise of Cities por John Julius Norwich
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Paradise of Cities (edición 2004)

por John Julius Norwich

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The city of Venice through the eyes of nineteenth century visitors. For this portrait of Venice in the nineteenth and early twentieth centuries Lord Norwich has abandoned the historical approach, preferring to look at the city through the eyes of the most distinguished of its foreign visitors or residents. Beginning with Napoleon with, perhaps, the most mysterious of all his mistresses we continue with Byron, who cut his usual swathe among the feminine population while embarking on the last great affair of his life. Ruskin, Browning, Wagner and Henry James are among the others who for a longer or shorter time made the city their own, together with the two great Anglo-American painters James McNeill Whistler and John Singer Sargent. The survey ends with the insufferable Baron Corvo, who poisoned the life of the British colony in Venice in the years immediately before the First World War.… (más)
Miembro:nikossf
Título:Paradise of Cities
Autores:John Julius Norwich
Información:Doubleday (2003), Hardbound, 336 pages
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Paradise of Cities: Venice In the 19th Century por John Julius Norwich

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Noted Venice expert and lover John Julius Norwich's portraits of famous 19th century visitors to Venice, outstanding on their own, fail to combine to into a sound gestalt. Venice in the 19th century was certainly no paradise of cities, in fact, it was a moribund and decaying cesspool. Its visitors came to admire its crumbling past, to live cheaply in grandiose retirement, to retreat from public view, to profit from the local sex traffic or to die in splendor. Richard Wagner ticked all of them off and, with his scenic eye, he chose it as his place of apotheosis (but not as a final resting place). Whether this collection of sinners, large and small, found the ultimate paradise in Venice is not so certain. In my view, Henry James would vote for Boston, Richard Wagner for Bayreuth and even John Ruskin for London.

The chapters about Napoleon's short business visit (putting the Republic into Chapter 11 receivership and later trading it to Austria) and the 1848 revolution clash with the other chapters about rich, excentric or artistic visitors to Venice. As the other chapters, sensibly, break his 19th century restriction self-imposed by his title, he should also have included a portrait of Thomas Mann (who remained a 19th century man well into the 20th century). Overall, a mixed bag of portraits that does not meet Norwich's usual mark of quality. ( )
1 vota jcbrunner | Sep 12, 2010 |
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The city of Venice through the eyes of nineteenth century visitors. For this portrait of Venice in the nineteenth and early twentieth centuries Lord Norwich has abandoned the historical approach, preferring to look at the city through the eyes of the most distinguished of its foreign visitors or residents. Beginning with Napoleon with, perhaps, the most mysterious of all his mistresses we continue with Byron, who cut his usual swathe among the feminine population while embarking on the last great affair of his life. Ruskin, Browning, Wagner and Henry James are among the others who for a longer or shorter time made the city their own, together with the two great Anglo-American painters James McNeill Whistler and John Singer Sargent. The survey ends with the insufferable Baron Corvo, who poisoned the life of the British colony in Venice in the years immediately before the First World War.

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