In the years around 1790, when literary picture schemes came to dominate London's
marketplace of commercial galleries, Swiss-born painter Henry Fuseli worked on multiple …

ABSTRACT In this essay, Martin Myrone explores aspects of the art of the Swiss-born
painter Henry Fuseli (1741–1825) in the context of the transformation of the public culture of …

The rediscovery of Pompeii and Herculaneum in the eighteenth century challenged
European assumptions about ancient life; just as influential, if quieter, was the revolution …

Fuseli's Milton Gallery challenges the antipictorial theories and canons of Romantic period
culture. Between 1791 and 1799 Swiss painter Henry Fuseli turned Milton's Paradise Lost …

In the drawing Three Courtesans Operating on the Face of a Bound Man (1800)(plate 1), a
naked man is confined to a chair, bound tightly across his chest and pelvis. He is flanked by …

A critical biography of the eighteenth-century painter. Henry Fuseli (1741–1825) was one of
the eighteenth century's most provocative and inventive artists. He is best known for his …

Anglo-Swiss artist Henry Fuseli (1741-1825) shared drawings of a sexually charged and
implied sadistic nature among an elite and intimate group of male artists. These drawings …

Like modernist aesthetics of many stripes, Bloomsbury flowers from the taproot of British
aestheticism. Under the pressures of machine-age modernity, art for art's sake evolves in the …

Most art historians divide the art of the later 18th and early 19th centuries into two major
groups: Neo-Classicism and Romanticism. It seems established that identification of these …

On its first showing at the Royal Academy on 29 April 1782, Henry Fuseli's Nightmare (plate
1) was a scandal, and a success. But the causes of both reactions proved elusive. As a …