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2 results

  • Chapter 3 - Girodet’s Electric Shocks

  • Stephanie O'Rourke, University of St Andrews, Scotland
  • Book:
    Art, Science, and the Body in Early Romanticism
    Published online:
    28 October 2021
    Print publication:
    04 November 2021, pp 104-150

  • Summary

    Chapter 3 shifts from Britain and Switzerland to France, where electric demonstrations and experimental physics courses had become extremely popular in the 1780s. The artist Girodet referenced the visual and structural features of eighteenth-century electricity in both his written and his painted work. Specifically, he was drawn to its treatment of the human body, which was said to be a porous and penetrable entity capable of receiving and transmitting this powerful, immaterial force. Yet Girodet’s paintings featured dissolving bodies, strange atmospheric effects, and highly unorthodox forms of illumination that were incompatible with the empirical procedures that were central to the study of electricity. Reflecting on the revolutionary implications of a porous conception of selfhood, Girodet’s paintings thus interrogated the epistemological and political viability of an electrified body.

Art, Science, and the Body in Early Romanticism
  • Stephanie O'Rourke
  • Published online:
    28 October 2021
    Print publication:
    04 November 2021
  • 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.