#johann heinrich fuseli

[sictransitgloriamvndi]

[adeliuna]

The silence, by Johann Heinrich Fussli (1799-1801)

[gotankgo]

The Nightmare • Robert Crumb

The Nightmare (1781)

• Johann Heinrich Füssli (Henry Fuseli)

[yasantiekspresi]

Love Incantation

An enchantress awaits her roguish beloved,

With just a smidge of fairy dust to her entrusted,

Whilst nymphs and satyr gather around an accursed.

Her alleged love was a romantic elixir within her encrusted,

The Fairy Queen, in a twisted awe for her purported beloved.

Henry Fuseli - Titania and Bottom - Poem by - yasantiekspresi

[decemberblue]

My edit of Johann Heinrich Füssli - “The Nightmare”.

[mask131]

Fantasy sight: Fuseli

Henry Fuseli, also known as Johann Heinrich Füssli, is often mistaken for a British artist because he spent so much time in Britain - but in truth he was one of the most famous Swiss painters of the late 18th-early 19th century. Most people today only know him for his most famous and celebrated pieces, "The Nightmare":

But it wasn't his only take on superstitions and legends surrounding night demons and bad-dream spirits. For example, he also did this folkloric piece called "Night-hag visiting the Lapland Witches":

Fuseli also did a LOT of Shakespearian pieces. He did a "Titania and Bottom"...

An "Ariel"...

A "Puck, or Robin Goodfellow"

A "Macbeth consulting the visions of the armed head"

Of course, there is also his VERY famous "Three Witches"

Beyond Shakespearian pieces, Fuseli also did all sorts of paintings covering "classical" themes.

From the Odyssey he made an "Odysseus in front of Scylla and Charybdis"(correction, couldn't find a picture that fits, so have instead a "Tiresias appearing to Odysseus / Tiresias predicting the future")

From The Faerie Queene he did a "Britomart delivering Amoretta from the enchantment of Busirane"

And, more surprisingly, from Norse mythology, he did a very famous "Thor battering the Midgard Serpent"

[mysterious-secret-garden]

Henry Fuseli - Haemon discovering the body of Antigone, 1800.

[konstskvaller]

[theartofmetal]

118. The Final Nightmare - Overdrive (Heavy Metal, 2014)

Art by Johann Heinrich Füssli: "Nachtmahr", 1781

"The painting was first displayed at the annual Royal Academy exhibition in London in 1782, where it shocked, titillated, and frightened exhibition visitors and critics. Unlike many of the paintings that were then popular and successful at the Royal Academy exhibitions, Füssli’s The Nightmare has no moralizing subject. The scene is an invented one, a product of Fuseli’s imagination."

Because of the popularity of the work, Füssli painted a number of versions such as the third painting above, which was created c. 1790-91

[titleleaf]

"The Royal Academy summer show of 1782, the third to take place in its new purpose-built exhibition galleries at Somerset House, ran from Monday 29 April until Monday 3 June. During this five-week period, the show was visited by 55,357 people - an increase of 12,533 on the previous year. There was an entrance fee of one shilling ‘to prevent the Rooms being filled by improper Persons‘. One visitor wrote of the social atmosphere on a busy day:

People Flock in a forenoon to saunter about gazing at each other as at any other kind of Route [gathering], and now and then perhaps look with admiration on an Outré Piece, that on account of its staring colours and sharp unnatural Angles would attrappe their notice sooner than the most chaste and classical piece …

Johann Heinrich Ramberg [1763-1840] - who, as it happens, exhibited one of his satirical drawings in the 1782 show — five years later inspired a well-known engraving of the overcrowding and social game-playing at the Royal Academy exhibition, which could almost be an illustration of these words; the fashionably dressed visitors, a sample of London high society. are indeed ‘gazing at each other‘ rather than at the paintings; one male figure is pretending to pay close attention to a work of art when in fact he is eyeing up a beautiful woman who seems to take no notice; another is trying hard to seem a connoisseur by looking at nothing in particular through an eyeglass; George. Prince of Wales, meanwhile, poses portrait-style next to Joshua Reynolds in the centre of the picture - the subject of much more concentration than any of the pictures. many of which are hung like washing above the line and beyond anyone's field of vision. Beneath the engraving, in Greek, was the motto - the same as the one above the entrance door of the Great Room - ‘Let no Stranger to the Muses enter’ (which was more usually translated in the 1730s as ‘Let none but Men of Taste presume to enter here')."

"Fuseli's The Nightmare: Somewhere Between The Sublime And The Ridiculous", Christopher Frayling (from Gothic Nightmares: Fuseli, Blake, and the Romantic Imagination)

[rfsnyder]

Johann Heinrich Fuseli, The Mad Kate, 1806

[sictransitgloriamvndi]

[wild-love-heart]

La pesadilla

Henry Fuseli

Suíza, 1781

Título original: The nightmare

Museo: Detroit Institute of Arts, Detroit (Estados Unidos)

Técnica: Óleo (101 cm × 127 cm.)

The Nightmare, o El íncubo, es un extraño cuadro de Johann Heinrich Füssli, o como le llamaron los ingleses, Henry Fuseli.

El pintor suizo se fue a probar suerte a Gran Bretaña y ya se estableció en el país, siendo admirado por su erudición en arte. Desde luego sus cuadros, que no escatiman en oscuridad no fueron muy apreciados popularmente en su día, pero a la larga resultó ser cierto lo que decía William Blake de él: “se ha adelantado cien años a la generación actual”.

En el lienzo vemos una mujer dormida poseída por un íncubo, demonio que aparece en los sueños eróticos. Al fondo un terrorífico caballo observa la escena onírica construida en un ambiente teatral (con esa cortina al más puro estilo David Lynch).

Ocultismo, terror, erotismo… Esto era lo que le interesaba a este visionario que recrea ese mundo de los sueños nocturno y teatral, que tanto influiría en la Inglaterra Victoriana, con sus corrientes ocultistas, y siglos después a los surrealistas, a los que les encantaban estas temáticas.

Con esta obra, que nos habla de lo sublime, Fuseli se adelantó también al romanticismo, movimiento artístico que barrería Europa en pocos años.

https://historia-arte.com/obras/la-pesadilla

[visualpoett]

Mrs. Fuseli wearing an Elaborate Headdress and Studies of an Eye, Mouth and Torso (pen and ink) Artist: Johann Heinrich Füssli

[scottelkartwork]

ARTWORK

Henry Fuseli

Sketch for "Oath on the Rütli", 1779-81

Chicago Institute of Art

Although Henry Fuseli spent most of his career in England, he was born Johann Heinrich Füssli in Zurich, Switzerland. This is a preliminary study for the artist's first important commission, The Oath on the Rütli, in Zurich's city hall. Both the study and the final painting depict the oath sworn on the Rütli meadow in 1291 by representatives of three Swiss cantons (territories) against the ambitions of their Habsburg overlords. This sketch, with its limited palette and loose, expressive brush-strokes, shows the artist thinking through questions of tone and mood.

What I connect with…

I've been thinking about Rodin's Three Shades for a year now, so this felt like a variation of that composition. Love it.

[mybookof-you]

Teiresias Foretells the Future to Odysseus, 1780-1783. Artist: Füssli (Fuseli), Johann Heinrich (1741-1825)

diomedia.com