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9781316519028

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'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

'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

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

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