Painter, poet, critic, and teacher, Henry Fuseli (1741-1825) is one of the most idiosyncratic and original figures in the history of British art. His life and work have always fueled speculation, gossip, and fantasy--from the rumors of his opium addiction and predilection for eating raw pork to the wildly differing modern assessments of his art. Art historians view him varPainter, poet, critic, and teacher, Henry Fuseli (1741-1825) is one of the most idiosyncratic and original figures in the history of British art. His life and work have always fueled speculation, gossip, and fantasy--from the rumors of his opium addiction and predilection for eating raw pork to the wildly differing modern assessments of his art. Art historians view him variously as a prime exponent of Neoclassicism, a Romantic before his time, or an aberrant individualist foreshadowing the innovations of Surrealism.This book reinterprets Fuseli by locating him in a period of traumatic social, cultural, and political revolution. Thematic chapters explore the successive phases of his career. They move from his early work in London and Rome, through his innovative exploitation of London's new public spaces for displaying art, to his old age--a period of great professional success when he profoundly influenced a whole generation of younger British artists. A vivid image of the artist emerges, revealing Fuseli as a seminal figure in the development of modern art....
|Number of Pages||:||80 Pages|
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Henry Fuseli Reviews
A good mixture of biography, appreciation, criticism, historical context and images. The main drawback being how small the images are. The pages are too few and too small for it to be a satisfying image gallery but it does feature a lot of the really great images.I'd very much recommend Myrone's other book Gothic Nightmares for larger pictures, it also heavily features William Blake, a few other associated artists and essays by multiple writers.There is a newer book called Henry Fuseli: 250 Colour Plates but I've seen complaints of it having too small images (I may buy it anyway).I wont hold my breath for a better gallery book, so few artists seem to get them, unfortunately.
Myrone's treatment of this peculiar Swiss who in his voluntary exile became one of the most prominent British artists of his lifetime struck me as both evenhanded and comprehensive. The book's less out to stun you into fanaticism than to present a clear, straightforward argument for the appreciation of Fuseli. His analysis of Fuseli's enactment of Romantic aesthetics, while passably readable to those who have little to no knowledge of the subject, expects of the reader an extensive familiarity with Edmund Burke's Ideas of the Sublime and Beautiful, and perhaps even some Winkelmann. The brief survey given of the Gothic is rather dull, and limited by Myrone's penchant for configuring artistic development as an economic phenomenon. And while there isn't any room in these eighty pages for delineating Fuseli's legacy--Blake is touched upon lightly and Turner is virtually ignored--but he provides clear enough a picture of Fuseli's work to let you figure it out on your own. Aside from glossing over the Gothic, this volume works decently enough as an introduction or a fresh overview of one of Britian's and Romanticism's most important and overlooked painters.