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dc.contributor.authorO'Rourke, Stephanie
dc.identifier.citationO'Rourke , S 2022 , ' Art after self evidence : Fuseli, Blake, and Banks ' , European Romantic Review , vol. 33 , no. 4 , pp. 497-513 .
dc.identifier.otherPURE: 280081781
dc.identifier.otherPURE UUID: 3a680f5c-c34d-4a9c-b67c-ab3e69738aea
dc.identifier.otherORCID: /0000-0001-6823-4282/work/116598360
dc.identifier.otherScopus: 85134838759
dc.identifier.otherWOS: 000829790600004
dc.description.abstractThis 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.
dc.relation.ispartofEuropean Romantic Reviewen
dc.rightsCopyright © 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 (, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.en
dc.subjectN Fine Artsen
dc.titleArt after self evidence : Fuseli, Blake, and Banksen
dc.typeJournal articleen
dc.contributor.sponsorThe Leverhulme Trusten
dc.description.versionPublisher PDFen
dc.contributor.institutionUniversity of St Andrews. Centre for Energy Ethicsen
dc.contributor.institutionUniversity of St Andrews. Centre for Contemporary Arten
dc.contributor.institutionUniversity of St Andrews. School of Art Historyen
dc.description.statusPeer revieweden

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