Gothic Nightmares: Fuseli, Blake and the Romantic ImaginationHarry N. Abrams, 2006 - 224 sidor The 1770s was marked by the emergence of themes of violence, horror and the supernatural in art: the birth of the Gothic. In 1782, the unveiling of Henry Fuseli's painting The Nightmare was met with a mixture of shock and fascination. The cosmic visions of William Blake, the vast, neo-classical history paintings of James Barry and the searing, grotesque caricatures of James Gilray all emerged during a time of political and social upheaval, matched by similarly extreme developments in the literature of the period. While there have been several critical reassessments of Gothic literature in recent years, Gothic Nightmares, which accompanies a groundbreaking exhibition at Tate Britain, will be the first serious consideration of these themes in visual art.Six sections explore individual themes: the Gothic nightmare, examining Fuseli's famous painting in context; the Sublime vision of the Gothic hero, tortured and imprisoned; |
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Sida 13
... artist in a letter to his Liverpool patron William Roscoe ( 1753-1831 ) of 22 October 1791 : Your Approbation of my ... artist's province or not , to find or to combine a subject from himself , without having recourse to tradition or the ...
... artist in a letter to his Liverpool patron William Roscoe ( 1753-1831 ) of 22 October 1791 : Your Approbation of my ... artist's province or not , to find or to combine a subject from himself , without having recourse to tradition or the ...
Sida 19
... artist.49 And so in Mary Shelley's Frankenstein ( volume 3 , chapter VI of the 1818 edition ) she may well have ... artist's reputation since the 1920s has even - with the usual post - Freudian elision of life and work - reinforced the ...
... artist.49 And so in Mary Shelley's Frankenstein ( volume 3 , chapter VI of the 1818 edition ) she may well have ... artist's reputation since the 1920s has even - with the usual post - Freudian elision of life and work - reinforced the ...
Sida 37
... artist more eccentric than Fuseli , it was this strange young engraver . The painter Thomas Stothard ( 1755-1834 ) said of Blake's designs that they ' were like the conceits of a drunken fellow or a Madman'37 Such a judgement became ...
... artist more eccentric than Fuseli , it was this strange young engraver . The painter Thomas Stothard ( 1755-1834 ) said of Blake's designs that they ' were like the conceits of a drunken fellow or a Madman'37 Such a judgement became ...
Innehåll
Foreword | 6 |
Acknowledgements | 7 |
Somewhere between the Sublime and the Ridiculous Christopher Frayling | 9 |
Upphovsrätt | |
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Gothic Nightmares: Fuseli, Blake and the Romantic Imagination Martin Myrone Ingen förhandsgranskning - 2006 |
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appears Art Gallery artist Auckland Art Gallery Bindman Blake's British Museum Butlin catalogue classical cm Tate cm The British composition contemporary Cosway created cultural Death drawing Dream eighteenth century engraving erotic etching exhibition fairy fantasy Farington female figure Fuseli's Fuseli's painting George ghost Gillray's Gothic Gothic novel head Henry Fuseli hero heroic Holst Horace Walpole horror horse illustrations imagination James Gillray John John Hamilton Mortimer King Knowles Kunsthaus literary literature London Lord Macbeth madness Maria Cosway narrative night Nightmare Oil on canvas original painter perhaps Phantasmagoria picture poem political portrait Prometheus published Queen reference represents Rome Romney Royal Academy scene Schiff sexual Shakespeare Gallery sleep story Sublime suggested supernatural taste terror theme Theodor von Holst Thomas thou Titania vision visual wash on paper watercolour watercolour on paper Weinglass 1994 William Blake witches woman women Zurich