The earliest visual representations of Swedenborgian concepts started appearing in the late 18th century. These were mainly illustrations accompanying editions of Swedenborg's books, visualizing scenes from his descriptions of heaven, hell, and the spiritual world. They served as didactic tools to convey his complex theological ideas.

The Romantic era embraced Swedenborg's mystical and visionary elements. Artists, particularly those interested in the sublime and the spiritual, drew inspiration from his descriptions of the afterlife and the interconnectedness of the natural and spiritual worlds. These influences were often subtle, appearing as symbolic elements or thematic concerns rather than direct illustrations of his texts.

William Blake was deeply influenced by Swedenborg. Blake initially engaged with Swedenborgian ideas and even briefly joined the New Church. While he later developed his own unique mythology, Swedenborg's emphasis on the imagination, spiritual vision, and the divine within humanity resonated with Blake's artistic and philosophical leanings. Blake's artwork often reflects a similar visionary quality, with symbolic figures and scenes depicting spiritual and psychological states.

The Symbolist movement of the late 19th century saw artists exploring inner states, dreams, and mystical experiences. Swedenborg's exploration of the spiritual world provided a framework for understanding the hidden dimensions of reality. This influence is more conceptual than direct, influencing the movement’s overall exploration of the unconscious and the transcendent.