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Henry Fuseli - Study of one of the Quirinal Dioscuri

Study of one of the Quirinal Dioscuri (circa 1775-1778)

Henry Fuseli (Swiss, 1741-1825)
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License: All public domain files can be freely used for personal and commercial projects.
Why is this image in the public domain?
The Artist died in 1825 so this work is in the public domain in its country of origin and other countries where the copyright term is the Artist's life plus 70 years or fewer.
Henry Fuseli

Henry Fuseli was a Swiss painter, draughtsman, and writer on art who spent much of his life in Britain. Many of his works depict supernatural experiences, such as The Nightmare. He painted works for John Boydell's Shakespeare Gallery and created his own "Milton Gallery". He held the posts of Professor of Painting and Keeper at the Royal Academy. His style had a considerable influence on many younger British artists, including William Blake.

Fuseli was born in Zürich, Switzerland, the second of 18 children. His father was Johann Caspar Füssli, a painter of portraits and landscapes, and author of Lives of the Helvetic Painters. He intended Henry for the church, and sent him to the Caroline college of Zürich, where he received a classical education. One of his schoolmates there was Johann Kaspar Lavater, with whom he became close friends.

After taking orders in 1761, Fuseli was forced to leave the country as a result of having helped Lavater to expose an unjust magistrate, whose powerful family sought revenge. He travelled through Germany, and then, in 1765, visited England, where he supported himself for some time by miscellaneous writing. Eventually, he became acquainted with Sir Joshua Reynolds, to whom he showed his drawings. Following Reynolds' advice, he decided to devote himself entirely to art. In 1770 he made an art-pilgrimage to Italy, where he remained until 1778, changing his name from Füssli to the more Italian-sounding Fuseli. In Rome he moved in the same circles as the Scottish artist Alexander Runciman and the Swedish sculptor Tobias Sergel.

Early in 1779 he returned to Britain, visiting Zürich on the way. In London, he found a commission awaiting him from Alderman Boydell, who was then setting up his Shakespeare Gallery. Fuseli painted a number of pieces for Boydell, and published an English edition of Lavater's work on physiognomy. He also gave William Cowper some valuable assistance in preparing a translation of Homer. In 1788 Fuseli married Sophia Rawlins (originally one of his models), and he soon after became an associate of the Royal Academy. The early feminist Mary Wollstonecraft, whose portrait he had painted, planned a trip with him to Paris, and pursued him determinedly, but communication between the two was stopped by Rawlins. Fuseli later said "I hate clever women. They are only troublesome". In 1790 he became a full academician, presenting Thor Battering the Midgard Serpent as his diploma work. In 1799 Fuseli was appointed professor of painting to the Academy. Four years later he was chosen as Keeper, and resigned his professorship, but resumed it in 1810, continuing to hold both offices until his death. He was succeeded as keeper by Henry Thomson.

In 1799 Fuseli exhibited a series of paintings from subjects furnished by the works of John Milton, with a view to forming a Milton gallery comparable to Boydell's Shakespeare gallery. There were 47 Milton paintings, many of them very large, completed at intervals over nine years. The exhibition proved a commercial failure and closed in 1800. In 1805 he brought out an edition of Matthew Pilkington's Lives of the Painters, which did little for his reputation.

Antonio Canova, when on his visit to England, was much taken with Fuseli's works, and on returning to Rome in 1817 caused him to be elected a member of the first class in the Accademia dI San Luca

More Artworks by Henry Fuseli (View all 92 Artworks)

Evening Thou Bringest All

Evening Thou Bringest All (1803)

Henry Fuseli (Swiss, 1741-1825)
Titania and the Fairies from Shakespeare’s Midsummer night’s dream

Titania and the Fairies from Shakespeare’s Midsummer night’s dream

Henry Fuseli (Swiss, 1741-1825)
Vue de la chapelle de Guillaume Tell dans le Canton de Schweiz

Vue de la chapelle de Guillaume Tell dans le Canton de Schweiz (1915-1945)

Henry Fuseli (Swiss, 1741-1825)
Hamlet, Prince of Denmark; Act I, Scene iv, Platform before the Palace of Elsineur–Hamlet, Horatio, Marcellus and the Ghost

Hamlet, Prince of Denmark; Act I, Scene iv, Platform before the Palace of Elsineur–Hamlet, Horatio, Marcellus and the Ghost (1803)

Henry Fuseli (Swiss, 1741-1825)
Lysander With Helena And Hermia, From A Midsummer Night’S Dream

Lysander With Helena And Hermia, From A Midsummer Night’S Dream

Henry Fuseli (Swiss, 1741-1825)
Male nude

Male nude (ca. 1790–1800)

Henry Fuseli (Swiss, 1741-1825)
Henry IV; Part II, Act II, Scene IV. ‘Doll Tearsheet, Falstaff, Henry & Poins’

Henry IV; Part II, Act II, Scene IV. ‘Doll Tearsheet, Falstaff, Henry & Poins’ (1803)

Henry Fuseli (Swiss, 1741-1825)
Henry V; Act II, Scene ii, Southamptom. The King, Scroop, etc.

Henry V; Act II, Scene ii, Southamptom. The King, Scroop, etc. (1803)

Henry Fuseli (Swiss, 1741-1825)
Caractacus at the Tribunal

Caractacus at the Tribunal (1792)

Henry Fuseli (Swiss, 1741-1825)
Macbeth, the three witches hovering over the cauldron in the cave

Macbeth, the three witches hovering over the cauldron in the cave

Henry Fuseli (Swiss, 1741-1825)
A man in despair over a tombstone in a cave with other figures

A man in despair over a tombstone in a cave with other figures (1770 – 1779)

Henry Fuseli (Swiss, 1741-1825)
Two Girls At A Cabin Window

Two Girls At A Cabin Window (1779)

Henry Fuseli (Swiss, 1741-1825)
Beatrice, Hero and Ursula

Beatrice, Hero and Ursula (ca. 1771)

Henry Fuseli (Swiss, 1741-1825)
Kühleborn Brings Undine To The Fishermen

Kühleborn Brings Undine To The Fishermen (1821)

Henry Fuseli (Swiss, 1741-1825)
Faery Mab

Faery Mab (1815-1820)

Henry Fuseli (Swiss, 1741-1825)
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