The Dream of Queen Katherine 3
The Shepherd's Dream
Percival Delivering Belisane from the Enchantment of Urma
The Vision of Catherine of Aragon
Dispute between Hotspur, Glendower, Mortimer and Worcester
The Return of Milton's Wife
The Dream of Queen Katherine
The Death of Oedipus
A Scene from 'The Wife of Bath's Tale'
Macbeth', Act I, Scene 3, the Weird Sisters
Milton When a Boy Instructed by His Mother
The Fire King
The Infant Shakespeare between Tragedy and Comedy
The Conversion of Saint Paul
Huon And Amanda With The Dead Alphonso
The Dream of Queen Katherine 2
Mamillius Conjuring up Sprites and Goblins for His Mother, Hermione
A Warrior Rescuing a Lady
Every Man in his Humour, act I scene v, 1791
Here I and Sorrow Sit Act II Scene I of King John
Flora, surrounded by the Four Elements
The Dream of Eve
Romeo And Juliet
Meleager implored by the Aetolians to defend the City of Calydon (Iliad IX, 574-586)
The Creation of Eve
Dante and Virgil on the Ice of Kocythos
The Italian Court or Ezzelier Count of Ravenna musing over the body of Meduna slain by him for infidelity during his absence in the Holy Land
The Creation of Eve 2
Study for Saul and the Witch of Endor
Portrait Of Sophia Rawlins, The Artist's Wife
The Witch and the Mandrake
The Artist Moved by the Grandeur of Antique Fragments
Achilles Searching for the Shade of Patrocles
Edgar Feigning Madness Approaches King Lear
Macbeth and the Witches
Scene from Act IV Scene I of A Midsummer Nights Dream by William Shakespeare
Teiresias foretells the future to Odysseus
Macbeth consulting the Vision of the Armed Head
Sin Pursued by Death
Prospero Miranda Caliban and Ariel plate four from The Boydell Shakespeare Gallery
Perseus Returning the Eye of the Graii
Lady Macbeth 1784
Hamlet Act I Scene IV by William Shakespeare
The Shepherd's Dream 1793
The Nightmare Leaving Two Sleeping Women
Henry Fuseli: Swiss Painter and writer from Britain
Johann Heinrich Fussli, referred to as Henry Fuseli, was born in Zürich on February 7th, 1741, who changed into the second of 18 youngsters born to Anna Elisabeth Waser and the Swiss portrait painter Johann Caspar Füssli. Caspar was a 16th and 17th-century Swiss artwork collector and passed his appreciation of excellent artwork onto his son.
Fuseli's father introduced him to Johann Joachim Winckelmann and the German painter Anton Raphael Mengs. Both shared enthusiasm for classical antiquity and an unwavering commitment to the values of Neo-classical painting.
Fuseli changed into reared in a highbrow and resourceful milieu and, to start with, studied theology and changed into obliged to escape Zurich because of political entanglements; he went to Berlin first. Then he settled in London in 1764. During his days in Rome, he studied Michelangelo and classical artwork, which have become his major stylistic influences.
Henry Fuseli's Work:
As a painter, Fuseli favored the supernatural. He pitched the whole lot on an ideal scale, believing a certain quantity of exaggeration important in the better branches of ancient painting. In this principle, he changed into confirmed by studying Michelangelo's works and the marble statues of the Monte Cavalla, which he appreciated while pondering in the evening at Rome, relieved against a murky sky or illuminated through lightning. His different paintings are full of earnestness and life. It seems to have different objects in the view, which they look at with various intensities.
Like Rubens, he excelled in the art of setting different facts and figures in different motions. However, the lofty was his proper sphere. Fuseli had an excellent perception of the ludicrous. The grotesque humor of his fairy scenes, especially the ones taken from a Midsummer Night's Dream, is in its manner not less remarkable than the poetic strength of his greater ambitious works.
Though disregarded as a colorist, Fuseli was defined as a grasp of light and shadow. Rather than starting his palette methodically in the way of most painters, he dispensed the colors throughout it randomly. He frequently used his pigments in the shape of a dry powder, which he swiftly blended at the cease of his brush with oil, or turpentine, or gold size, regardless of the quantity, and relying on accident for the overall effect.
This recklessness may perhaps be defined through the reality that he did not paint using oil until 25. Fuseli painted more than two hundred pictures; however, he exhibited the most effective and small variety. His earliest painting represented Joseph deciphering the Dreams of the Baker and Butler. Still, the first to excite particular attention was The Nightmare, exhibited in 1782, a painting of which he painted numerous versions.
Themes visible in The Nightmare and horror, dark magic, and sexuality echoed in his paintings in 1796, Night-Hag traveling the Lapland Witches. His sketches or designs numbered about 800; they have admirable features of invention and layout and are frequently advanced to his paintings.
In his drawings, as in his paintings, includes many thrilling anecdotes of Fuseli. His technique included deliberately exaggerating the proportions of the human body and throwing his figures into contorted attitudes. His family members to cutting-edge artists are given in his Life through John Knowles (1831). He stimulated the artwork of Fortunate.
After a lifestyle of uninterrupted good health, he died in the house of the Countess of Guildford on Putney Hill in 1825, at the age of 84, and become buried in the crypt of St. Paul's Cathedral. He was comparatively rich at the time of his death.