Hélène Ibata
Search for other papers by Hélène Ibata in
Current site
Google Scholar
Reynolds, the great style and the Burkean sublime
Abstract only
Log-in for full text

The chapter examines intellectual interactions between Burke and Reynolds and contrasts their conceptions of the sublime, in order to determine the extent of Burke’s influence on his friend. Reynolds’s own conception of the sublime is shown to be solidly anchored in the neoclassical tradition and its assimilation of the sublime to the ‘great style’ as well as to Michelangelo’s terribilità. Yet, one may discern ways in which the Enquiry’s irrationalism filtered into Reynolds’s own theory of art, which suggests that he played a part in mediating his friend’s aesthetics for the Royal Academy of Arts. Reynolds’s reconciliation of the neoclassical notion of the ‘great style’ with a new emphasis on imagination and intensity of affect is then understood as one of the first stages in the development of ‘Burkean’ academic productions, which flourished from the mid-1770s onwards.

  • Collapse
  • Expand

All of MUP's digital content including Open Access books and journals is now available on manchesterhive.


The challenge of the sublime

From Burke’s Philosophical Enquiry to British Romantic art


All Time Past Year Past 30 Days
Abstract Views 93 13 1
Full Text Views 23 2 0
PDF Downloads 22 3 0