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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... horror , dungeons and ghouls - reached out to the most immediately gruesome or salacious tastes . This last came most forcibly to the fore in the 1790s , when a new kind of shockingly graphic Gothic tale was imported in translation from ...
... horror , dungeons and ghouls - reached out to the most immediately gruesome or salacious tastes . This last came most forcibly to the fore in the 1790s , when a new kind of shockingly graphic Gothic tale was imported in translation from ...
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... Horror 1. Ever since it was first exhibited to the public in 1782 , Henry Fuseli's The Nightmare has been an icon of horror . Showing a woman supine in her boudoir or bedroom , oppressed by a foul imp while a ferocious - looking horse ...
... Horror 1. Ever since it was first exhibited to the public in 1782 , Henry Fuseli's The Nightmare has been an icon of horror . Showing a woman supine in her boudoir or bedroom , oppressed by a foul imp while a ferocious - looking horse ...
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... horror ( Lovecraft 1982 , p.34 ) . Even by the time Poe wrote the first version of The Fall of the House of Usher in 1839 the literalness of Fuseli's image had become well established through the medium of book illustrations ...
... horror ( Lovecraft 1982 , p.34 ) . Even by the time Poe wrote the first version of The Fall of the House of Usher in 1839 the literalness of Fuseli's image had become well established through the medium of book illustrations ...
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