Matthew C. Potter is Professor of Art and Design History at the University of Northumbria

'Potter has succeeded admirably in his stated aim: "to bring to light the true importance of an international tradition that has been neglected in British art history for reasons of historiography and politics". This is a vibrant and engrossing work.'Richard Scully, University of New England, Reviews in History, 21 September 2013‘Potter’s ambitions extend beyond the history of British art and visual culture… Potter’s sedulous historical research … reclaims historical territory. It is part of a greater ‘writing in’ of not only Anglo-German influences but also the importance of theory for British art … Inspirational Genius is a fertile resource for historical detail and a much-needed redress of the programmatic blindness that has adversely affected historical and critical appreciation of the British place in the development of international modernist narratives’ [Kate Aspinall, Immediations: The Courtauld Institute of Art Journal of Postgraduate Research 3:2 (2013), 97–8];‘Potter’s rigorous monograph examines a series of case studies of English art and aesthetics over nearly 100 years ... [he] effectively retells the story of Victorian art through the lens of its German influences’ [Shearer West, University of Oxford, Victorian Studies 57:1 (Autumn 2014), 148–151]. 'Potter’s work identifies and addresses critical gaps in the existing scholarship on the British reception of German art ... Potter’s study is admirable in the subtle and sophisticated ways in which he explores the interactions of the British arts establishment with German aesthetics and aesthetic education ... Potter is at least as interested in the motivations of the art establishment in the nineteenth century as he is in later more avant-garde figures ... when considering moments of Anglo-German cultural transfer over ninety years' [Christian Weikop, The Burlington Magazine, May 2017, 405-6:‘In this rich scholarly monograph, Matthew C. Potter does justice to an enterprise first embarked on by his mentor, the distinguished expert on German Romanticism, William Vaughan, in exploring the complex networks on Anglo-German artistic connections in the nineteenth century. The earlier chapters on the lesser-known figures Herkomer and Atkinson are especially good, helpfully demonstrating the importance of Atkinson’s attempts to widern British engagement with German art. Potter’s study is admirable in the subtle and sophisticated ways in which he explores the interactions of the British arts establishment with German aesthetics and aesthetic education, especially with respect to the ideas of such important cultural figures as Kant, Herder, Hegel, Schiller and Goethe. ‘Christian Weikop, The Burlington magazine May 2017

• 1. A new kind of Germanism: British artistic interest in Germany after Romanticism2. Pre-Raphaelite Germanism: Ford Madox Brown and his circle3. The twilight of the Nazarenes: Joseph Beavington Atkinson and British art-critical responses to Germany, 1850-864. Lord Leighton: made in Germany?5. Blutgefühl and Bildung: Hubert Herkomer, Knight of Bavaria and the British empire6. Germanist Symbolism in Britain: G.F. Watts, Walter Crane and the reception of Arnold Böcklin7. Germanism repackaged: Kandinsky, Vorticism and the woodcut, 1909-188. Art and Germanism in the shadow of the First World War, 1918-39Index

Matthew C. Potter is Professor of Art and Design History at the University of Northumbria

'Potter has succeeded admirably in his stated aim: "to bring to light the true importance of an international tradition that has been neglected in British art history for reasons of historiography and politics". This is a vibrant and engrossing work.'Richard Scully, University of New England, Reviews in History, 21 September 2013‘Potter’s ambitions extend beyond the history of British art and visual culture… Potter’s sedulous historical research … reclaims historical territory. It is part of a greater ‘writing in’ of not only Anglo-German influences but also the importance of theory for British art … Inspirational Genius is a fertile resource for historical detail and a much-needed redress of the programmatic blindness that has adversely affected historical and critical appreciation of the British place in the development of international modernist narratives’ [Kate Aspinall, Immediations: The Courtauld Institute of Art Journal of Postgraduate Research 3:2 (2013), 97–8];‘Potter’s rigorous monograph examines a series of case studies of English art and aesthetics over nearly 100 years ... [he] effectively retells the story of Victorian art through the lens of its German influences’ [Shearer West, University of Oxford, Victorian Studies 57:1 (Autumn 2014), 148–151]. 'Potter’s work identifies and addresses critical gaps in the existing scholarship on the British reception of German art ... Potter’s study is admirable in the subtle and sophisticated ways in which he explores the interactions of the British arts establishment with German aesthetics and aesthetic education ... Potter is at least as interested in the motivations of the art establishment in the nineteenth century as he is in later more avant-garde figures ... when considering moments of Anglo-German cultural transfer over ninety years' [Christian Weikop, The Burlington Magazine, May 2017, 405-6:‘In this rich scholarly monograph, Matthew C. Potter does justice to an enterprise first embarked on by his mentor, the distinguished expert on German Romanticism, William Vaughan, in exploring the complex networks on Anglo-German artistic connections in the nineteenth century. The earlier chapters on the lesser-known figures Herkomer and Atkinson are especially good, helpfully demonstrating the importance of Atkinson’s attempts to widern British engagement with German art. Potter’s study is admirable in the subtle and sophisticated ways in which he explores the interactions of the British arts establishment with German aesthetics and aesthetic education, especially with respect to the ideas of such important cultural figures as Kant, Herder, Hegel, Schiller and Goethe. ‘Christian Weikop, The Burlington magazine May 2017

• 1. A new kind of Germanism: British artistic interest in Germany after Romanticism2. Pre-Raphaelite Germanism: Ford Madox Brown and his circle3. The twilight of the Nazarenes: Joseph Beavington Atkinson and British art-critical responses to Germany, 1850-864. Lord Leighton: made in Germany?5. Blutgefühl and Bildung: Hubert Herkomer, Knight of Bavaria and the British empire6. Germanist Symbolism in Britain: G.F. Watts, Walter Crane and the reception of Arnold Böcklin7. Germanism repackaged: Kandinsky, Vorticism and the woodcut, 1909-188. Art and Germanism in the shadow of the First World War, 1918-39Index

Matthew C. Potter is Professor of Art and Design History at the University of Northumbria

'Potter has succeeded admirably in his stated aim: "to bring to light the true importance of an international tradition that has been neglected in British art history for reasons of historiography and politics". This is a vibrant and engrossing work.'Richard Scully, University of New England, Reviews in History, 21 September 2013‘Potter’s ambitions extend beyond the history of British art and visual culture… Potter’s sedulous historical research … reclaims historical territory. It is part of a greater ‘writing in’ of not only Anglo-German influences but also the importance of theory for British art … Inspirational Genius is a fertile resource for historical detail and a much-needed redress of the programmatic blindness that has adversely affected historical and critical appreciation of the British place in the development of international modernist narratives’ [Kate Aspinall, Immediations: The Courtauld Institute of Art Journal of Postgraduate Research 3:2 (2013), 97–8];‘Potter’s rigorous monograph examines a series of case studies of English art and aesthetics over nearly 100 years ... [he] effectively retells the story of Victorian art through the lens of its German influences’ [Shearer West, University of Oxford, Victorian Studies 57:1 (Autumn 2014), 148–151]. 'Potter’s work identifies and addresses critical gaps in the existing scholarship on the British reception of German art ... Potter’s study is admirable in the subtle and sophisticated ways in which he explores the interactions of the British arts establishment with German aesthetics and aesthetic education ... Potter is at least as interested in the motivations of the art establishment in the nineteenth century as he is in later more avant-garde figures ... when considering moments of Anglo-German cultural transfer over ninety years' [Christian Weikop, The Burlington Magazine, May 2017, 405-6:‘In this rich scholarly monograph, Matthew C. Potter does justice to an enterprise first embarked on by his mentor, the distinguished expert on German Romanticism, William Vaughan, in exploring the complex networks on Anglo-German artistic connections in the nineteenth century. The earlier chapters on the lesser-known figures Herkomer and Atkinson are especially good, helpfully demonstrating the importance of Atkinson’s attempts to widern British engagement with German art. Potter’s study is admirable in the subtle and sophisticated ways in which he explores the interactions of the British arts establishment with German aesthetics and aesthetic education, especially with respect to the ideas of such important cultural figures as Kant, Herder, Hegel, Schiller and Goethe. ‘Christian Weikop, The Burlington magazine May 2017

• 1. A new kind of Germanism: British artistic interest in Germany after Romanticism2. Pre-Raphaelite Germanism: Ford Madox Brown and his circle3. The twilight of the Nazarenes: Joseph Beavington Atkinson and British art-critical responses to Germany, 1850-864. Lord Leighton: made in Germany?5. Blutgefühl and Bildung: Hubert Herkomer, Knight of Bavaria and the British empire6. Germanist Symbolism in Britain: G.F. Watts, Walter Crane and the reception of Arnold Böcklin7. Germanism repackaged: Kandinsky, Vorticism and the woodcut, 1909-188. Art and Germanism in the shadow of the First World War, 1918-39Index