Compares the spirit of the recent exhibition of 19th and 20th c. British painting, The last Romantics: the Romantic tradition in British art, from Burne-Jones to Stanley Spencer (London, Barbican Art Gallery, spring 1989), with that of the exhibition of 20th c. British art held at the Royal Academy, London, in 1987. Argues that while the Barbican exhibition places Spencer in a British tradition deriving from Romanticism and Pre-Raphaelitism rather than dismissing him as an aberration in the context of modernism, neither exhibition reveals a grasp of the nature of that tradition.
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