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Published online by Cambridge University Press: 16 July 2018
When, in George Eliot’s Middlemarch of 1871–2, Dorothea and her new husband Edward Casaubon travel to Rome and visit the artist Adolf Naumann’s studio with Will Ladislaw, Eliot uses the scene as a meeting point of two opposed conceptions of artistic creativity. On the one hand, there is the rapturous, transcendent view of art Ladislaw represents. In commenting on one of Naumann’s works in progress, for example, Ladislaw’s admiration is apparently too deep to be expressed verbally.
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