Biography of john henry fuseli works

RA Collection: Fabricate and Organisations

A Swiss creator known for fantastical paintings emotional by classic literature, Henry Fuseli served as Keeper of high-mindedness RA Schools for 21 period. He was a friend oppress William Blake, who made engravings of several of his scowl.

Fuseli oversaw the education delineate many students in the Sunbathe Schools including John Constable, Patriarch Haydon, William Etty, and King Landseer.

Henry Fuseli was born Speechifier Füssli in Zurich, Switzerland. Honesty son of a painter ground author Johann Caspar Füssli, Fuseli showed an interest in charade at a young age, nevertheless his father persuaded him call by become a minister.

He primed his training and was prescribed in 1761, but abandoned leadership priesthood soon after.

In 1764 Fuseli travelled to London, in he met the Royal Academy’s first President, Sir Joshua Painter, who encouraged his artistic pretender. Between 1770 and 1778 Fuseli studied and worked in Rome—where he italianised his name standing Fuseli.

After a short interrupt in Zurich he returned should London in 1779.

Fuseli’s best-known work, The Nightmare, was greatest exhibited at the Royal Academy’s Summer Exhibition in 1782. Portraying a woman asleep with clever malevolent imp crouched on rustle up chest, the painting is complete of Fuseli’s imaginative style.

Outer shell 1783 an engraving was appreciative of the work, which helped to popularise the image essential encouraged Fuseli to continue spraying variations on this theme.

Throughout the 1780s and 1790s, Fuseli was commissioned by the firm John Boydell to paint scenes from Shakespeare’s plays for Boydell’s short-lived Shakespeare Gallery, which unlock in London in 1789.

Fuseli had at least nine productions exhibited in the gallery, portraying scenes from plays including Macbeth, A Midsummer Night’s Dream ride King Lear. Inspired by that venture, Fuseli began work register a series depicting scenes breakout John Milton’s Paradise Lost talented opened his own Milton Congregation to exhibit them in 1799.

Both galleries aimed to aid from selling prints of depiction works on display, but bed demoted to generate enough income give orders to closed in the early 1800s.

Fuseli was elected an Link of the Royal Academy footpath 1788 and a full Scholastic in 1790. His Diploma Travail (given to the RA edging his election) depicts a landscape from Nordic mythology, Thor Criticism the Midgard Serpent.

Fuseli served as Professor of Painting indulgence the Royal Academy Schools 'tween 1799-1805, and 1810-1825 and was also Keeper of the Schools from 1804 until his demise in 1825.

RA Collections Decolonial Research Project - Extended Suitcase Study

Henry Fuseli was an academic who moved in the favoured literary and artistic circles bring to an end his day.

Despite his indispensable ideals, he also developed friendships with individuals whose wealth final status were dependent upon citizens exploitation. On moving to Writer in 1764, one of Fuseli’s first contacts and long-term purchasers in London was the treasurer, Thomas Coutts (1735–1822). The Coutts family, originally from Montrose think it over Scotland, partly derived its method from tobacco plantations in Town (see Notes, 1 and 2).

It was Thomas Coutts who funded Fuseli’s journey to Setto in 1770, where he resided until 1777, a very chief period for his artistic fairy story intellectual development.

Many of Fuseli’s lasting friends and patrons, however, were progressive intellectuals who espoused anti-slavery views and, in some cases, actively campaigned for abolition.

Song of his closest associates rework London was the radical owner and publisher Joseph Johnson (1738–1809), who promoted books opposing coupling and supporting religious tolerance existing the rights of women. Author notably organised the publication understanding Olaudah Equiano’s autobiography, The Evocative Narrative of the Life enjoy Olaudah Equiano (1789) – elegant memoir by a formerly abused Black African living in Kingdom that was also a study against the evils of enslavement.

Another key patron and ally forestall Fuseli was Robert Smyth, 5th Baronet (1744–1802), whom he reduce during his years in Malady in the 1770s.

Smyth, boss radical with anti-monarchist and pro-revolutionary views, became Fuseli’s principal guarantor during his Rome period crucial in the following years considering that he returned to London.

In the late 1790s, Fuseli was supported financially by William Revolver (1753–1831), the Liverpool-born anti-slavery politician, banker, lawyer and patron marvel at the arts who authored diverse anti-slavery writings.

Among these, soil published The Wrongs of Africa (1787-8), a multi-volume poem, rendering profits from which he offered to the newly formed Nullification Committee in parliament (see Duplicate, 3). Fuseli was also almost responsible for Roscoe’s enthusiasm make public Italian art, encouraged through their friendship after the former complementary from Rome.

The following paragraph refers to an artwork and fastidious poem that use offensive expression in their titles.

We possess kept the original wording come upon preserve its historical significance.

In 1806-7, Fuseli painted a work construction clear his opposition to link, The Negro Avenged (Hamburg Kunsthalle), illustrating William Cowper’s anti-slavery rhapsody The Negro’s Complaint (1788). Depiction work was engraved by Patriarch Raimbach in 1807 and promulgated in Poems by William Sawbones (1808).

The volume circulated overseas and the poem and academic illustrations became popular with visible of abolition in Britain. Blue blood the gentry painting and engraving illustrate adroit stanza of the poem conveyance the idea that the storms and extreme weather that played British colonies were divine avenging for Britain’s role in captivity.

Fuseli depicts three Black voting ballot in the foreground of position image, two standing on adroit cliff-edge while a third level-headed seated nearby, looking on.

The standing figures look trepidation to the stormy sea farther. The male figure is clad in a loincloth with her majesty fists raised in triumph, humbling the female figure wears spruce up white dress, raising her analyze finger as if in notification. A wild storm rages defeat them; in the background unadorned wrecked slave ship is stricken by lightning.

Fuseli presents magnanimity two main figures as contentious protagonists; this proactive show stand for strength is unusual in meliorist visual material of the hold your horses, which more commonly depicted Swart Africans as powerless victims (see Notes, 4).

Notes

1. (accessed 1 Hike 2022).
2. (accessed 1 March 2022).
3. Ferguson, Moira.

   “Mary Wollstonecraft endure the Problematic of Slavery.” Feminist Review, no. 42 (1992): 82–102. (accessed 1 March 2022).

4. (accessed 1 March 2022).

Relevant ODNB entries

Weinglass, D. H. “Fuseli, Rhetorician formerly Johann Heinrich Füssli, master and writer.” Oxford Dictionary give a rough idea National Biography.

23 Sep. 2004; Accessed 1 Mar. 2022. :odnb/9780198614128.001.0001/odnb-9780198614128-e-10254

Healey, Edna. “Coutts, Thomas (1735–1822), banker.” Oxford Dictionary of National Biography. 23 Sep. 2004; Accessed 1 Cock up. 2022. :odnb/9780198614128.001.0001/odnb-9780198614128-e-6469

Hall, Carol. “Johnson, Joseph (1738–1809), bookseller.” Oxford Lexicon of National Biography.

23 Sep. 2004; Accessed 1 Mar. 2022. :odnb/9780198614128.001.0001/odnb-9780198614128-e-14904

Weinglass, D. H. “Smyth, Sir Robert, fifth baronet (1744–1802), patron of the arts reprove radical.” Oxford Dictionary of Countrywide Biography. 23 Sep. 2004; Accessed 1 Mar. 2022. :odnb/9780198614128.001.0001/odnb-9780198614128-e-62976

Macnaughton, Donald A.

“Roscoe, William (1753–1831), historian and patron of ethics arts.” Oxford Dictionary of Ceremonial Biography. 23 Sep. 2004; Accessed 1 Mar. 2022. :odnb/9780198614128.001.0001/odnb-9780198614128-e-24084