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Sir George Beaumont is a key figure in the history of British art. As well as being a respected amateur landscape painter, he was a prominent patron, a collector, and co-founder of the National Gallery. William Wordsworth described Beaumont’s friendship as one of the chief blessings of his life, and this edition reveals that the two men became collaborators as well as companions. In addition to documenting unique perspectives on social, political, and cultural events of the early nineteenth century (providing new contexts for reading Wordsworth’s mature poetry), the letters collected here chart the progress of an increasingly intimate inter-familial relationship. The picture that emerges is of a coterie that – in influence, creativity, and affection – rivals Wordsworth’s more famous exchange with Coleridge at Nether Stowey in the 1790s. The edition includes an extended study of how Wordsworth and Beaumont helped shape one another’s work, tracing processes of mutual artistic development that involved not only a meeting of aristocratic refinement and rural simplicity, of a socialite and a lover of retirement, of a painter and a poet, but also an aesthetic rapprochement between neoclassical and romantic values, between the impulse to idealize and the desire to particularize.
Jessica Fay is a Teaching Fellow in the Department of English Literature at the University of Birmingham.
List of Illustrations List of Letters The Creative Exchange between Wordsworth and Beaumont The Letters Part I: 1803–1806 Part II: 1807–1813 Part III: 1814–1818 Part IV: 1819–1827 Part V: 1827–1829 Appendix I: Lady Beaumont’s Reading: Thomas Barnard’s ‘Account of an English Hermit’ Appendix II: Paintings Hung at Coleorton Hall
‘[E]xemplary foundational scholarship… Fay’s volume also opens these intersections of aesthetics and politics to women’s voices… In Lady Beaumont’s thirteen letters to William and her many postscripts to her husband’s letters, we hear a voice that would stand her ground against some of Wordsworth’s most intransigent positions, such as his long opposition to Catholic emancipation.’ Eric C. Walker, European Romantic Review