Henry Fuseli


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Fuseli, Henry

(fyo͞o`zĭlē), 1741–1825, Anglo-Swiss painter and draftsman, b. Zürich. He was known also as Johann Heinrich Fuessli or Füssli. He took holy orders but never practiced the priesthood. Fuseli went (c.1763) to England and studied in London, where Joshua Reynolds befriended him. He spent a few years in Italy, where he made the studies for his famous series of nine paintings for Boydell's Shakespeare Gallery. Returning to England, he exhibited a number of works of a grotesque and visionary type, including the celebrated Nightmare (1782). His own Milton Gallery housed a series of his paintings illustrating the poet's works. His drawings, of which he left over 800, further reveal his romantic fascination with the terrifying and weird. Fuseli admired and encouraged William Blake. Some of his lectures to the Royal Academy have been published.

Bibliography

See studies by F. Antal (1956), P. A. Tomory (1972), and G. Schiff (2 vol., 1974).

Fuseli, Henry

 

(originally named Johann Heinrich Füssli). Born Feb. 6, 1741, in Zürich; died Apr. 16, 1825, at Putney Hill, near London. Swiss artist and writer of the early romantic movement.

Fuseli lived chiefly in England, settling in London in 1765. From 1770 to 1778 he lived in Italy, where he moved principally in the circle of J. J. Winkelmann. In 1790, Fuseli became a member of the Royal Academy of Arts; he was a professor of painting and a curator there from 1799 to 1810 and again from 1810 to 1825. His paintings and virtuoso drawings frequently combined a classical idealization of images with impetuous gloomy fantasy, elements of the grotesque, and, at times, keen observation of life. Fuseli was also a poet, historian, and art theorist.

REFERENCES

Nekrasova, E. A. Romantizm v angliiskom iskusstve. Moscow, 1975. Pages 20–44.
Antal, F. Fuseli Studies. London, 1956.
Schiff, G. Johann Heinrich Füssli: 1741–1825, vols. 1–2. Zörich-Munich [1973],
References in periodicals archive ?
To some artists, the grandeur of the antique could be overwhelming, as seen in the celebrated sheet by Henry Fuseli.
Among the stars of the genre are Joshua Reynolds, Henry Fuseli, George Romney, Richard Dadd, and William Blake.
Henry Fuseli is said to have remarked that fellow Romantic William Blake was "damned good to steal from".
Blake subsequently sent at least two letters to the Monthly Magazine, one of which was the only Blake letter to appear in letterpress during his lifetime, as well as an important expression of his view of the living painter who mattered to Blake most, Henry Fuseli.
Drawn from Tate's collection, it showcases major works by Henry Fuseli, JMW Turner, John Constable and Samuel Palmer, as well as newly-acquired works by William Blake.
College, London) explores the influence on British poet and engraver William Blake (1757-1827) of the body theory espoused by Swiss theologian Johann Caspar Lavater (1741-1801), mainly through the work of Swiss-born painter Henry Fuseli (1741-1825).
Despite claims to a visionary source, this flea recalls the imps of Henry Fuseli (1741-1825), another painter of monsters, and some of Blake's previous work.
Among the medieval narrative sources accessible to the artists, Havely identifies as the most significant Boccaccio's version in his Esposizioni, whose influence is discernible in the illustrations by Henry Fuseli, John Flaxman, and Jean August Dominique Ingres.
There is the vivid Gothic imagery by the German artist Albrecht Durer, the dark and distorted works by the Swiss artist Henry Fuseli, the iconic and fantastical works by Surrealists such as Salvador Dali and Rene Magritte and then, of course, there's today's contemporary artists Susan Hiller and Eija-Liisa Ahtila with their compelling video, film and audio.
He persuaded prominent artists who are famous still--Joshua Reynolds, Benjamin West, George Romney and Henry Fuseli, among them--to participate.
CITY CENTRE: The Walker art gallery is holding a talk on one of its paintings, The Death of Oedipus, by Henry Fuseli.
Here, the focus is on the odd couple of Swiss-born Henry Fuseli, with his crowd-pleasing Nightmare, 1781, and William Blake, whose depictions of monsters and phantoms were inspired by the loftiest pages of the Bible and Dante.