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Beginning with a consideration of what remains of a Catholic, pre-Reformation tradition in 15th-century English architecture and church art, Graham-Dixon reassesses the bad press accorded the Tudors. He offers illuminating accounts of the paradoxical embrace of Holbein and VanDyck by the English court, Holbein in particular exemplifying English values of "common sense, precision, empiricism, determination, a capacity for inward reflection and a strong consciousness of responsibility." Gainsborough and Reynolds are reluctantly classified as self-consciously derivative geniuses caught in the shadow of the past, whilst George Stubbs is given the rather surprising accolade that "a painting by him can hang next to a great Titian or Rembrandt." However, despite its occasionally grandiloquent claims, there are fine sections on the radical nature of Constable and Turner, the turn away from their innovations by the Victorians and the complex, often painful reception of modernism into the mainstream of 20th-century British art from Wyndham Lewis to Damien Hirst. Overall, this is an elegant and readable overview of British art. --Jerry Brotton
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