Who is Henry Fuseli?
Henry Fosselli, Swiss writer and painter. Known for his work on the supernatural side such as The Nightmare.
About Henry Fusili
A Swiss painter and writer named his full name, Johann Henrich Fosley, born on 7 February 1741, spent most of his life in Britain. Most of his works, including his most famous painting, The Nightmare, deal with supernatural subjects. He painted works for John Boydell's Shakespeare Works and created his own exhibition (Milton Gallery). He has served as a professor of graphic arts at the Royal Academy. His artistic style has a remarkable impact on many subsequent British artists, including William Blake.
The beginnings of Henry Fusili
Fusili was born in Zurich, Switzerland, the second child in a family of 18 children. His father is Johann Casper Fuselli, a naturalist and landscape painter, and is the author of the Lives of the Helvetic Painters. Henry enrolled in the church and sent him to study at Caroline College in Zurich, where he received excellent traditional education. One of his classmates was Johann Caspar Lafatar, who became close friends with him.After judgments in 1761, Fusili was forced to leave the country as a result of his assistance to Lafar to expose his unfair prosecution, as the family of this powerful judge sought revenge. He traveled through Germany and then visited England in 1765, where he was able to support himself for some time with various writings. She was eventually known as Sir Joshua Reynolds, who showed him his drawings. Following Reynolds' advice, he devoted himself entirely to art. In 1770 he made a technical pilgrimage to Italy, where he lived until 1778, and in the meantime he changed his name from Fuseli to Fusili (the name seems Italy).
Henry Fusili's achievements
He returned early in 1779 to Britain, passing Zurich on his way. In London, he found a project awaiting Mr. Alderman Boydell, which was an art gallery for Shakespeare. Fusili painted a number of paintings to Boydell, and published an English edition of Leavatar's work in phonology.He also provided valuable assistance to William Cooper in preparing Homer's translation. Fusili married one of his opponents Sofia Rollino. Marie Wlostenkraft, one of the first women's rights defenders, has painted a picture of Fossili, planned to go with him on a trip to Paris, and urged him on this journey with determination, but after Sophia's intervention Vosseli's door was closed in her face forever. "I hate clever women, they are only tired," Fusili later said. The year 1790 became fully academic, and Thor Battering the Midgard Serpent was working as a diploma. In 1799 he was appointed as a professor of painting at the Academy. He was elected four years later and resigned from his position as professor, but he continued his work in 1810, to occupy both positions until his death. And succeeded him in his post as Henry Thompson's values.In 1799, Fusili presented a series of works taken from themes of John Milton's work, which he considered to be an exhibition of Milton's works in a manner similar to what Boydell did for Shakespeare's work. There were 47 paintings painted on Milton's works, most of which were very large and took nine years to work. The exhibition was a commercial failure and closed in 1800. In 1805, he produced an edition of the Lives of Painters, which added little to his artistic reputation.When Antonio Kanova visited Britain, he took a strong interest in Fusili's work. On his return to Rome in 1817, he was elected as a member of the first class of Saint Luke's Academy.As a painter, Fusili preferred supernatural phenomenon. I dropped everything in a perfect mold, believing to some extent the need to exaggerate the higher sections of historical drawings. This theory was confirmed by the study of Michelangelo's works and the marble statues of Monte Cavallo, which he liked to reflect on during his evenings in Rome, lying under a dark sky or under the lights of lightning.His colorful works were not mentioned, and the faces of his paintings were characterized by seriousness and vitality. Fusili was described by the master of shadows and light. Instead of coloring his paintings in the classical way of most artists, he randomly passed colors through his paintings. And put the colors in the form of powder colored, where dipping the tip of his brushes with oil or turpentine regardless of the quality to depend on the coincidence in the general effects. This is explained by the non-use of oil paints until the age of twenty-fifth.Fusili painted more than 200 paintings, but displayed a small number of them. The first of his paintings is the prophet Joseph, who explains the dreams of the baker and the calf, and the first that drew special attention was The Nightmare and its presentation in 1782. Two of them were painted, and the subjects painted in this painting were repeated in his painting Night-Hag visiting the Lapland Witches.His designs and designs are over 800, and are of impressive quality in terms of creativity and design, and often outperform his drawings. In his drawings, as in his paintings, the exaggeration in drawing the parts of the human body and making his designs fall under the category of prejudices. One of his techniques included placing random points on a chip, which later became sharp points for different parties. A notable example of these drawings was with George Richmond when the two artists were together in Rome. He rarely drew people from real life, his art was based on archeology and Michael Angelo. He has never painted landscapes, he cries: "The cursed nature has long removed me." Draw two paintings for landscape only. John Knowles described his relationship with his contemporaries as artists in 1831. He influenced the art of Fortunato Durante.In 1788 Foucelli began writing articles and reviews for Analytical Reviews. Along with Thomas Benn, William Goodwin, Joseph Priestley, Erasmus Darwin and Mary Wallstoncraft, and others interested in art, literature and politics, and Fusili's homage to the home of Joseph Johnson, publisher and famous figure in revolutionary British cultural and political life. He visited Hallerton Hall in Liverpool, the home of William Rusco.When Louis XVI was executed in France in 1793, he condemned the French Revolution as tyrannical and anarchist, although he initially welcomed it and considered it an indication of "an age that carries the greatest efforts of people."He was fluent in French, Italian, English and German, and was able to write in these languages smoothly and dynamically, although he preferred German as a vehicle carrying his ideas. His primary work was a series of 12 lectures in favor of the Royal Academy, and began in 1801.John Constable, Beniamin Haydon, William Etty, Edwin Landser and William Blake, who is 16 years younger, owe it to him. For a while, a number of English artists copied his own way.
The most famous words of Henry Fusili
The cursed nature has long eluded me.
I hate smart women, nothing comes of them but trouble.
Nature is a collective idea, and although it exists in every individual organism, it can not through its perfection live in a single body.
Blake is a good person to steal from him.
The cursed nature has long eluded me.
I hate smart women, nothing comes of them but trouble.
Nature is a collective idea, and although it exists in every individual organism, it can not through its perfection live in a single body.
Blake is a good person to steal from him.
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Henry Fosselli 's Personal Life
In 1788, Fusili married Sophia Rollino, who was one of his opponents.
Death of Henry Fusili
After a long life in which he was well, he died at Countess Guildford in Ponte Hill at the age of 84 and was buried in the basement of St. Paul's Cathedral. He enjoyed relative richness when he died.
Quick facts about Henry Fusili
- Before he worked as a painter, he studied the rite in preparation for becoming a priest.
- Take care of the romantic movement.
- Before moving to Britain, he lived for a whole year in Germany where he met the greatest book of that time.
- He earned his living from writing, translation and education.
- He attacked religious fanaticism.
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