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 152
... vision given to her by Shakespeare is uncertain ; a modern proposal is that it derives from the vision attributed to Margaret of Angoulême , Queen of Navarre ( 1492-1549 ) , just before her death ( Duncan - Jones 1961 ) . Like no.37 ...
... vision given to her by Shakespeare is uncertain ; a modern proposal is that it derives from the vision attributed to Margaret of Angoulême , Queen of Navarre ( 1492-1549 ) , just before her death ( Duncan - Jones 1961 ) . Like no.37 ...
Sida 191
... Vision of the Seven Candlesticks 1796 Oil on canvas 132 x 101 cm Ivor Braka Ltd , London At the beginning of the Book of Revelation , St John describes being struck down ' as if dead ' by the vision of a white - clad Christ in the midst ...
... Vision of the Seven Candlesticks 1796 Oil on canvas 132 x 101 cm Ivor Braka Ltd , London At the beginning of the Book of Revelation , St John describes being struck down ' as if dead ' by the vision of a white - clad Christ in the midst ...
Sida 194
... vision which has been taken as representing the Four Ages of Man , drawn together to embody the Seven Eyes of God ( Tolley 1972 , pp.29-30 ) . His introduction of a vision of Christ into an Old Testament scene fits with standard ...
... vision which has been taken as representing the Four Ages of Man , drawn together to embody the Seven Eyes of God ( Tolley 1972 , pp.29-30 ) . His introduction of a vision of Christ into an Old Testament scene fits with standard ...
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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