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 38
... body's forms appeared to be put out of their ordained order and made mutable ( quite in defiance of the more conservative art theory that Fuseli was to develop as Professor at the Academy ) . The result was a deathly image - with bodies ...
... body's forms appeared to be put out of their ordained order and made mutable ( quite in defiance of the more conservative art theory that Fuseli was to develop as Professor at the Academy ) . The result was a deathly image - with bodies ...
Sida 91
... body and soul . However , we cannot be certain that the watercolour follows this design , or even the conception of ... Body & a Soul . 2. That Energy . calld Evil . is alone from the Body . & that Reason . calld Good . is alone from the ...
... body and soul . However , we cannot be certain that the watercolour follows this design , or even the conception of ... Body & a Soul . 2. That Energy . calld Evil . is alone from the Body . & that Reason . calld Good . is alone from the ...
Sida 174
... body can lead to the breakdown of that body in representation . The watercolour - and the very delicacy of its effects enhances this - effectively fetishises the body . For some critics and scholars such a dismemberment of the body ...
... body can lead to the breakdown of that body in representation . The watercolour - and the very delicacy of its effects enhances this - effectively fetishises the body . For some critics and scholars such a dismemberment of the body ...
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