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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... expression . He shows himself literally looking up from an image in a book , in order to focus all his concentration on the face and the meanings - the personal inscape which physical features can project . ' The exhibition of character ...
... expression . He shows himself literally looking up from an image in a book , in order to focus all his concentration on the face and the meanings - the personal inscape which physical features can project . ' The exhibition of character ...
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... expression of Fuseli's sexual desires and frustrations . The verso shows the unfinished portrait of a woman , associated by a number of commentators with Anna Landolt , the object of Fuseli's unrequited love during his visit to ...
... expression of Fuseli's sexual desires and frustrations . The verso shows the unfinished portrait of a woman , associated by a number of commentators with Anna Landolt , the object of Fuseli's unrequited love during his visit to ...
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... expressing such beliefs in public . The dominance of Protestantism , which rejected the liminal state of Purgatory ... expression grew so strong that such thinking was kept private ( Davies and de Blécourt 2004 ) . Paradoxically , the ...
... expressing such beliefs in public . The dominance of Protestantism , which rejected the liminal state of Purgatory ... expression grew so strong that such thinking was kept private ( Davies and de Blécourt 2004 ) . Paradoxically , the ...
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