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.


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.


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],
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The illustrations of Kenny Meadows, John Gilbert, and Henry Selous are, for example, bundled together in "High Victorian Shakespeare: Gilbert and Others" and the author attempts to be all-inclusive by adding chapters on "Shakespeare in France" "Shakespeare in Germany," and "American Shakespearean Art," There are the expected chapters on such central topics as Fuseli, the Boydell Shakespeare venture, John Everett Millais, and the Pre-Raphaelites, together with an increasingly breathless series of topics leading into the twentieth century--"The Impact of Photography," "In the Age of the Book Beautiful," "Through the Lens of Modern Art" "Limited Editions Club," and "The Animated Tales.
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Creia D'Annunzio fielmente en que la frase de Fuseli ("El genio puede soportar pero nunca robar") bien merecia convertirse en un metodo y asi muchos de sus poemas son versiones donde el robo y la apropiacion, dadas la adjetivizacion ornamental y el gigantismo enfatico, se convierten en otra cosa, a veces peor, a veces mejor, sobre todo para quien pueda paladear el italiano.
Cabe la posibilidad de que Goya conociese el texto de Lavater, pues fue reeditado en varias ocasiones, y las ilustraciones del libro corrieron a cargo de un contemporaneo de Goya, el pintor Henry Fuseli (Stoichita y Codercb 248).
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Three centuries later the darkly imaginative works by Fuseli and Piranesi (Clark 1976:45-67), as well as the naive paintings of Henri Rousseau (Arnason 1998:81) add to the list of artists who broke with the dictates of realism.
I told them I had high expectations, and then I gave a lecture on the history and aesthetics of the Gothic in art (Caspar David Friedrich, David Fuseli, Joseph Beuys, and Hugo Ball), architecture (from Notre Dame to Gaudi's Sagrada Familia), and literature (excerpts from Mary Shelley, Lord Byron, Coleridge, Edgar Allan Poe, Stephen King, and Maurice Sendak).
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