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Which of the following artists represented what was called the "sublime" in eighteenth-century art? Henry Fuseli In his painting, ____________________, Thomas Eakins portrayed things as he saw them and not as the public might want them portrayed.
https://www.tate.org.uk/art/research-publications/the-sublime/christine-riding-and-nigel-llewellyn-british-art-and-the-sublime-r1109418
Both classical and biblical versions of historical landscape developed during the second half of the eighteenth century as types of sublime landscape, above all in the work of Richard Wilson (1714–1728), followed famously by J.M.W. Turner (1775–1851) and John Martin.
https://quizlet.com/130354903/art-history-ii-chapter-22-23-quiz-flash-cards/
Henry Fuseli represented what was called the "sublime" in eighteenth-century art. true Manet's Olympia horrified the French public, not only because of the portrayal of a naked prostitue as a work of art, but also due to which of the following?
https://www.studyblue.com/notes/oral-roberts-university/o-professor/744458/0
Which of the following artists represented what was called the "sublime" in eighteenth-century art? Vigée-Lebrun portrayed herself as a self-confident painter looking directly at the viewer (and pausing to return their gaze) this has been copied from an earlier artist.
http://www.victorianweb.org/philosophy/sublime/theories.html
he discussion of the sublime (or the aesthetic of "greatness") was perhaps the single most important concern of eighteenth-century British aesthetics; but despite the frequency —or possibly because of it—with which the term appears in eighteenth- and nineteenth-century critical and creative literature, it had no one meaning that would have satisfied its many uses.
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