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Henry Fuseli
Lady Macbeth
Henry Fuseli1.jpg
1784
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Henry Fuseli
Nightmare s
Henry Fuseli2.jpg
1781-82
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Henry Fuseli
Titania and Bottom (mk08)
new7/Henry Fuseli-298475.jpg
c.1780-1790
Oil on canvas
216x274cm
London,Tate Gallery
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Henry Fuseli
The Nightmare (mk22)
new7/Henry Fuseli-834949.jpg
1790/91
Oil on canvas,76.5 x 63.5 cm
Frankfurt am Main,Freies Deutsches Hochstift,Frankfurter Goethe-Museum
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Henry Fuseli
Kriemhilde Sees the Dead Sikegfried in a Dream (mk45)
new2/Henry Fuseli-925657.jpg
1805
Pencil and watercolor
38.5x48.5cm
Zurich,Kunsthaus Zurich
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Henry Fuseli
Titania's Awakening
new3/Henry Fuseli-883245.jpg
1780-90
Oil on canvas 222 x 280 cm (87 1/2 x 110 3/8 in)
Kunstmuseum Winterthur (mk63)
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Henry Fuseli
Lady Macbeth Sleepwalking
new4/Henry Fuseli-382797.jpg
mk68
Oil on canvas
Paris,Louvre
c.1784
Britain
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Henry Fuseli
Titania and Bottom
new9/Henry Fuseli-764332.jpg
mk86
c.1780-17890
Oil on canvas
216x274cm
London,Tate Gallery
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Henry Fuseli
Titania and Bottom
new16/Henry Fuseli-389337.jpg
mk156
1780-90
Oil on canvas
217x275cm
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Henry Fuseli
Lady Macbeth Seizing the Daggers
new16/Henry Fuseli-589868.jpg
mk173
ca.1812
Oil on canvas
91.4x114.3cm
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Henry Fuseli
David Garrick and Hannah Pritchard as Macbeth and Lady Macbeth after the Murder of Duncan
new16/Henry Fuseli-983559.jpg
mk173
ca.1760-66
Watercolor heightened with white on paper
32.4x39.4cm
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Henry Fuseli
the nightmare
new20/Henry Fuseli-764394.jpg
mk247
1781,oil on canvas,40x50 in,101x128 cm,detroit lnstitute of arts,detroit,mi,usa
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Henry Fuseli
titania awakes,surrounded by attendant fairies
new20/Henry Fuseli-449895.jpg
mk247
1794,oil on canvas,67x53 in,170x134.5 cm,kunsthaus,zurich,switzerland
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Henry Fuseli
The artist in conversation with Johann Jakob Bodmer
new20/Henry Fuseli-966478.jpg
The artist in conversation with Johann Jakob Bodmer, 1778-1781.
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Henry Fuseli
Kriemhild and Gunther,
new20/Henry Fuseli-347848.jpg
Kriemhild and Gunther, 1807
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Henry Fuseli
Horseman attacked by a giant snake
new20/Henry Fuseli-347633.jpg
Horseman attacked by a giant snake, c. 1800.
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Henry Fuseli
Silence
new20/Henry Fuseli-394253.jpg
Silence, 1799-1801.
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Henry Fuseli
The Nightmare
new20/Henry Fuseli-755579.jpg
The Nightmare, (1781)
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Henry Fuseli
Odysseus in front of Scylla and Charybdis,
new20/Henry Fuseli-982746.jpg
Odysseus in front of Scylla and Charybdis, Fussli's Romance painting of Odysseus facing the choice of monsters, giving the phrase: between Scylla and Charybdis, 1794-1796
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Henry Fuseli
Euphrosyne vor der Phantasie und der Temperantia
new23/Henry Fuseli-959366.jpg
1799-1800
Oil on canvas
243 x 153 cm
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Henry Fuseli
Nachtmahr, Detail
new24/Henry Fuseli-954394.jpg
1802
Oil on canvas
cjr
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Henry Fuseli
Die drei Eidgenossen beim Schwur auf den Rutli
new25/Henry Fuseli-843564.jpg
1780(1780)
Medium oil on canvas
Dimensions Deutsch: 267 x 178 cm
cjr
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Henry Fuseli
Sophia Rawlins, the artist's wife
new26/Henry Fuseli-345876.jpg
oil on canvas
60 x 49.5
Date 18th century
cjr
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Henry Fuseli
Swiss-born British Romantic Painter, 1741-1825
Henry Fuseli was the first artist to command the epic literature and heroic history of northern Europe as well as the Mediterranean countries, and by his wide reading and close study of the Old Masters he equipped himself to extend the scope of history painting far beyond the traditional limits of the Bible and classical antiquity. In his speculative boldness he was a child of the Enlightenment, but he was also a fierce critic of sterile rationalism and preached the gospel of the imagination with religious fervor.
Henry Fuseli was born Johann Heinrich F??ssli (in 1764 he Anglicized his name) in Zurich on Feb. 6, 1741, the son of a painter with strong religious convictions who destined him for the Zwinglian ministry. After a period of intensive theological study Fuseli was ordained in 1761 and preached his first sermon. He was a friend of Johann Kaspar Lavater, whose Aphorisms on Man he later translated into English from manuscript. Fuseli became the favorite disciple of Johann Jakob Bodmer, who in 1740 had published an essay on the wonderful in poetry that led to a literary war with Johann Christoph Gottsched in Germany and the formation of a revolutionary Swiss school which used English literature, especially Milton and Shakespeare, as a spearhead in promoting romanticism.
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