Art after self evidence: Fuseli, Blake, and Banks

Stephanie O'Rourke

doi:10.1080/10509585.2022.2090699

Art after self evidence: Fuseli, Blake, and Banks

Stephanie O'Rourke^*

^*Corresponding author for this work

Research output: Contribution to journal › Article › peer-review

Abstract

This article examines artworks by Henry Fuseli, William Blake, and Thomas Banks in relation to changing notions of “self evidence” at the turn of the nineteenth century. It considers how models of artistic neoclassicism and scientific experimental procedures shared an investment in the evidentiary authority of an idealized male body. Exploring the gendered and racial hierarchies operative in such an ideal, this article also charts its unraveling.

Original language	English
Pages (from-to)	497-513
Number of pages	17
Journal	European Romantic Review
Volume	33
Issue number	4
DOIs	https://doi.org/10.1080/10509585.2022.2090699
Publication status	Published - 25 Jul 2022

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10.1080/10509585.2022.2090699Licence: CC BY

O'Rourke_2022_ERR_ArtAfterSelf_CC
Copyright © 2022 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Final published version, 3.51 MBLicence: CC BY

Natural Histories In Early 19th Century: Natural Histories in Early Nineteenth-Century European Landscape Painting
O'Rourke, S. (PI)
The Leverhulme Trust
1/01/20 → 31/03/22
Project: Fellowship

Cite this

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Art after self evidence: Fuseli, Blake, and Banks

Abstract

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Projects

Natural Histories In Early 19th Century: Natural Histories in Early Nineteenth-Century European Landscape Painting

Cite this