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dc.contributor.authorManderson, Desmond
dc.contributor.authorMartinez, Cristina
dc.date2021-11-25T13:35:14.000
dc.date.accessioned2021-11-26T11:56:09Z
dc.date.available2021-11-26T11:56:09Z
dc.date.issued2017-10-26T08:44:43-07:00
dc.identifieryjlh/vol28/iss2/3
dc.identifier.contextkey10954506
dc.identifier.urihttp://hdl.handle.net/20.500.13051/7535
dc.description.abstractThis essay studies in detail, for the first time and in the context of legal as well as art history, Sir Joshua Reynolds's representation of Justice (1779). We argue that the image is of particular significance in the history of representations of justice, and marks the emergence of neoclassical ideals. These ideals became, for example in the work of Sir William Blackstone, central to the development of Anglo-American concepts of the common law. We argue that Reynolds's work exemplifies a profound shift and a rich complexity in these concepts.
dc.titleJustice and Art, Face to Face
dc.source.journaltitleYale Journal of Law & the Humanities
refterms.dateFOA2021-11-26T11:56:09Z
dc.identifier.legacycoverpagehttps://digitalcommons.law.yale.edu/yjlh/vol28/iss2/3
dc.identifier.legacyfulltexthttps://digitalcommons.law.yale.edu/cgi/viewcontent.cgi?article=1452&context=yjlh&unstamped=1


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