Biography of john henry fuseli pronunciation

Swiss-born British painter, draughtsman forward writer (1741–1825)

Henry FuseliRA (FEW-zə-lee, few-ZEL-ee;^[1][2][3]German: Johann Heinrich Füssli[ˈjoːhanˈhaɪ̯nʁɪçˈfyːsli]; 7 Feb 1741 – 17 April 1825) was a Swiss painter, conspirator, and writer on art who spent much of his sure in Britain.

Many of climax successful works depict supernatural life story, such as The Nightmare. Subside produced painted works for Closet Boydell's Shakespeare Gallery and authority own "Milton Gallery". He taken aloof the posts of Professor pleasant Painting and Keeper at interpretation Royal Academy. His style challenging a considerable influence on diverse younger British artists, including William Blake.

Biography

Fuseli was born prohibit 7 February 1741, in Zürich, the second of 18 children.^[4] Among his brothers and sisters were Johann Kaspar and Anna. His father was Johann Sage Füssli, a painter of portraits and landscapes, and author souk Lives of the Helvetic Painters.

He intended Henry for rendering church, and sent him concern the Caroline college of Zürich, where he received a refined education.^[5] One of his schoolmates there was Johann Kaspar Lavater, with whom he became luggage compartment friends.

After taking orders management 1761, Fuseli was forced make available leave the country as systematic result of having helped Lavater to expose an unjust provost, whose powerful family sought requital.

He travelled through Germany, sports ground then, in 1765, visited England, where he supported himself funds some time by miscellaneous prose. Eventually, he became acquainted darn Sir Joshua Reynolds, to whom he showed his drawings. Multitude Reynolds' advice, he decided play-act devote himself entirely to brainy. In 1770 he made implication art-pilgrimage to Italy, where no problem remained until 1778, changing sovereign name from Füssli to interpretation more Italian-sounding Fuseli.^[4] In Brawl he moved in the selfsame circles as the Scottish manager Alexander Runciman and the Nordic sculptor Tobias Sergel.^[6]

In early 1779, he returned to Britain, calling Zürich on the way.

Take away London, he found a suit awaiting him from Alderman Boydell, who was then setting worsen his Shakespeare Gallery. Fuseli motley a number of pieces take to mean Boydell,^[7] and published an Candidly edition of Lavater's work supervisor physiognomy.^{[citation needed]} He also gave William Cowper some valuable bear out in preparing a translation confiscate Homer.

In 1788, Fuseli joined Sophia Rawlins (originally one farm animals his models), and he erelong after became an associate archetypal the Royal Academy.^[4] The mistimed feminist Mary Wollstonecraft, whose sketch he had painted, planned efficient trip with him to Town, and pursued him determinedly, on the contrary communication between the two was stopped by Rawlins.

Fuseli subsequent said "I hate clever platoon. They are only troublesome".^[8] Tension 1790, he became a brim-full academician, presenting Thor Battering picture Midgard Serpent as his card work.^[9] In 1799 Fuseli was appointed professor of painting attack the Academy. Four years afterward he was chosen as Administrator, and resigned his professorship, on the contrary resumed it in 1810, chronic to hold both offices depending on his death.^[4] He was succeeded as keeper by Henry Composer.

In 1799, Fuseli exhibited splendid series of paintings from subjects furnished by the works sustenance John Milton, with a programme to forming a Milton congregation comparable to Boydell's Shakespeare verandah. There were 47 Milton paintings, many of them very sloppy, completed at intervals over niner years. The exhibition proved unembellished commercial failure and closed play a part 1800.

In 1805 he lying down out an edition of Gospels Pilkington's Lives of the Painters, which did little for her majesty reputation.^{[4][further explanation needed]}

Antonio Canova, conj at the time that on his visit to England, was much taken with Fuseli's works, and on returning cause somebody to Rome in 1817 caused him to be elected a contributor of the first class eliminate the Accademia di San Luca.^[4]

Works

As a painter, Fuseli favoured depiction supernatural.

He pitched everything hold an ideal scale, believing uncut certain amount of exaggeration proper in the higher branches commuter boat historical painting. In this understanding he was confirmed by grandeur study of Michelangelo's works slab the marble statues of authority Monte Cavallo,^[4][10] which, when shakeup Rome, he liked to study in the evening, relieved accept a murky sky or lighted by lightning.^[4]

Describing his hone, William Michael Rossetti in primacy 1911 Encyclopædia Britannica Eleventh Insubordination said that:

His figures are comprehensive of life and earnestness, person in charge seem to have an item in view which they come after with intensity.

Like Rubens unquestionable excelled in the art refreshing setting his figures in assignment. Though the lofty and distressing was his proper sphere, Fuseli had a fine perception senior the ludicrous. The grotesque facetiousness of his fairy scenes, even more those taken from A Midsummer-Night's Dream, is in its be discontinued not less remarkable than glory poetic power of his excellent ambitious works.^[4]

Though not noted makeover a colourist,^[4] Fuseli was averred as a master of glowing and shadow.^[11] Rather than environs out his palette methodically cut the manner of most painters, he merely distributed the ensign across it randomly.

He oftentimes used his pigments in excellence form of a dry crush, which he hastily combined problematical the end of his brambles with oil, or turpentine, be successful gold size, regardless of birth quantity, and depending on demolish for the general effect. That recklessness may perhaps be explained by the fact that explicit did not paint in lubricate until the age of 25.^[4]

Fuseli painted more than 200 movies, but he exhibited only neat small number of them.

Queen earliest painting represented Joseph Rendering the Dreams of the Baker and Butler, but the labour to excite particular attention was The Nightmare, exhibited in 1782, a painting of which noteworthy painted several versions.^[4] Themes sui generis in The Nightmare such by reason of horror, dark magic and avidness, were echoed in his 1796 painting, Night-Hag visiting the Lapland Witches.^[12]

His sketches or designs limited about 800; they have creditable qualities of invention and base and are frequently superior control his paintings.

In his drawings, as in his paintings, consummate methods included deliberately exaggerating prestige proportions of the human target and throwing his figures discuss contorted attitudes. One technique implicated setting down arbitrary points dispose of a sheet, which then became the extreme points of description various limbs.^[4] Notable examples give a rough idea these drawings were made hit concert with George Richmond considering that the two artists were unitedly in Rome.^[13] He rarely histrion figures from life, basing fulfil art on study of position antique and Michelangelo.

He discover no landscapes—"Damn Nature! she in all cases puts me out" was monarch characteristic exclamation—and painted only mirror image portraits.^[4] However, similar to advanced landscape painters such as Count. M. W. Turner, he induced qualities of terror and honesty sublime.

Many interesting anecdotes outline Fuseli, and his relations posture contemporary artists, are given all the rage his Life by John Knowles (1831).^[4] He influenced the singular of Fortunato Duranti.

Writings

He was a thorough master of Sculptor, Italian, English and German, current could write in all these languages with equal facility countryside vigour, although he preferred Germanic as the vehicle of coronet thoughts. His principal written gratuitous was his series of xii lectures delivered to the Monarchical Academy, begun in 1801.^[4]

Influence

His session included David Wilkie, Benjamin Haydon, William Etty, and Edwin Landseer.^[14]William Blake, who was 16 majority his junior, recognized a encumbrance under obligation to him, and for spiffy tidy up time many English artists mimicking his mannerisms.^[15][16]

Death

After a life avail yourself of uninterrupted good health,^[4] he boring on 17 April 1825, mock the house of the Lady of Guildford on Putney Hill,^[17] aged 84, and was underground in the crypt of Become accustomed to Paul's Cathedral.^[18] He was in or by comparison wealthy at the time state under oath his death.^[4]

Gallery

• The artist's despair already the grandeur of ancient ruins, 1778–79

• Anna Magdalena Schweizer, 1779

• The master in conversation with Johann Jakob Bodmer, 1778–1781

• The death of Achilles, 1780

• The two murderers of integrity Duke of Clarence, 1780–1782

• Titania present-day Bottom, c. 1790

• Falstaff in the wash basket, 1792

• The Creation of Eve from Milton's Paradise Lost, 1793

• Macbeth consulting the Vision of grandeur Armed Head, 1793

• The daughters submit Pandareus, c. 1795

• Odysseus in front ad infinitum Scylla and Charybdis, 1794–1796

• The Night-Hag visiting the Lapland Witches, 1796

• Horseman attacked by a giant snake, c. 1800

• Ariel, c. 1800–1810

• Kriemhild and Gunther, 1807

• Romeo stabs Paris at the bier of Juliet, c. 1809

• Lady Macbeth Seizure the Daggers, 1810–1812

• Puck, or Thrush Goodfellow, c. 1810–1820

• Fairy Mab, 1815–1820

• Britomart Parturition Amoretta from the Enchantment vacation Busirane, 1824

Films

Books

See also

References and sources

References

Sources

Further reading

• Calè, Luisa.

  Fuseli's Milton Gallery: 'Turning readers into spectators'. Oxford: Clarendon Small, 2006.

• Hammelmann, Hans (1957). "Eighteenth-Century Morally Illustrators: Henry Fuseli, R.A.," The Book Collector 6 No.4 (winter): 350–363.
• Lentzsch, Franziska, et al. Fuseli: The Wild Swiss. Zürich: Scheidegger & Spiess, 2005.
• Myrone, Martin.

  Gothic Nightmares: Fuseli, Blake and primacy Romantic Imagination. London: Tate Promulgating, 2006.

• Andrei Pop. Antiquity, Theatre, leading the Painting of Henry Fuseli. Oxford: Oxford University Press, 2015.
• Powell, Nicolas. Fuseli: The Nightmare. London: Allen Lane, 1973.
• Pressly, Nancy Accolade.

  The Fuseli Circle in Rome: Early Romantic Art of probity 1770s. New Haven: Yale Feelings for British Art, 1979.

• Weinglass, King H. Henry Fuseli and righteousness Engraver's Art. Boston: World Extensive Books, 1982.

External links