Art, Science, and the Body in Early Romanticism

Stephanie O'Rourke (University of St Andrews, Scotland)

$141.95

Hardback

Not in-store but you can order this
How long will it take?

Availability Information

We source books from suppliers in Australia and overseas. For books we don't currently have in stock, the time it takes to get them from our suppliers can vary widely - from a few days to a few months - so we check each book with each supplier to determine the expected time it will take to be supplied to us.

We then advise you accordingly. If the time taken to get any book is too long for you, you can let us know and we will cancel or adjust your order, and refund as required.

To find out the anticipated arrival time for specific items prior to ordering, please contact us by phone or email:

Phone +61 2 9264 3111, or 1800 4 BOOKS (1800 4 26657) if outside Sydney:
option 1 Abbey's Bookshop (Crime, History, Science, Kids & more) • info@abbeys.com.au
option 2 Language Book Centre (ESL & Foreign Languages) • language@abbeys.com.au
option 3 Galaxy Bookshop (Sci-fi, Fantasy, Romance, Graphic Novels) • sf@galaxybooks.com.au

QTY:

English

Cambridge University Press
04 November 2021

Series: Cambridge Studies in Romanticism

Can we really trust the things our bodies tell us about the world? This work reveals how deeply intertwined cultural practices of art and science questioned the authority of the human body in the late eighteenth and early nineteenth centuries. Focusing on Henry Fuseli, Anne-Louis Girodet and Philippe de Loutherbourg, it argues that romantic artworks participated in a widespread crisis concerning the body as a source of reliable scientific knowledge. Rarely discussed sources and new archival material illuminate how artists drew upon contemporary sciences and inverted them, undermining their founding empiricist principles. The result is an alternative history of romantic visual culture that is deeply embroiled in controversies around electricity, mesmerism, physiognomy and other popular sciences. This volume reorients conventional accounts of romanticism and some of its most important artworks, while also putting forward a new model for the kinds of questions that we can ask about them.

By: Stephanie O'Rourke (University of St Andrews Scotland)
Imprint: Cambridge University Press
Country of Publication: United Kingdom
Dimensions: Height: 235mm, Width: 158mm, Spine: 20mm
Weight: 550g
ISBN: 9781316519028
ISBN 10: 1316519023
Series: Cambridge Studies in Romanticism
Pages: 205
Publication Date: 04 November 2021
Audience: Professional and scholarly , Undergraduate
Format: Hardback
Publisher's Status: Active

1. De Loutherbourg's mesmeric effects; 2. Fuseli's physiognomic impressions; 3. Girodet's electric shocks; 4. Self evidence on the scaffold.

Stephanie O'Rourke is a lecturer in Art History at the University of St Andrews.

Reviews for Art, Science, and the Body in Early Romanticism

'Stephanie O'Rourke's Art, Science, and the Body in Early Romanticism is an exemplary book … Amply illustrated with numerous color images and framed by a substantial concluding chapter, the book presents a capstone vision of how histories of art and science can be told together.' Matthew Hunter, Nineteenth-Century Art World Wide 'O'Rourke forces us not only to think anew about familiar paintings, but to reflect on how we establish relationships between art and science in other cases … an approach that has the potential to reconceptualize not just the work of individual artists, but the entire Romantic era' Oliver Wunsch, Boston College, CAA Reviews 'As her wide reading and close looking show, these artists' attempts to make the body legible hit at every juncture upon instability of the self, invisibility of the causes of action, and other sources of error and indeterminacy in scientific method and Enlightenment efforts to apply it to modern life. The results have not always been appreciated as art. To reveal them as vibrant applications of-and challenges to-the most iconoclastic science of their time is the task O'Rourke sets herself.' Andrei Pop, Review 19