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Iz perspektive galerije, najpoznatije djelo umjetnika Johann Heinrich Füssli je Noćna mora (1781), čiji se original nalazi u muzeju Detroit Institute of Arts, Detroit. Titania i Bottom s glave medvjeda i The Nightmare (1790) upotpunjuju triju koju svako oko prepoznaje. Od 161 djela umjetnika Johann Heinrich Füssli u našem katalogu, galerija u nastavku prikazuje 100 najpoznatijih, od kojih je svako originalno, s navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
Fuselijeva "Noćna mora" ikonično je djelo koje dočarava samu bit gotičkog užasa i romantizma. Nastalo 1781. godine, ovo ulje na platnu predstavlja duboko istraživanje podsvjesnog uma, spajajući dramatičnu kompoziciju s bogatim simbolizmom kako bi izazvalo osjećaj nelagode i fascinacije.
U sjenovitim, mjesečinom okrunjenim dubinama drevne šume, Johann Heinrich Füssli poziva nas u carstvo u kojem se granice između ljudskog i nadnaravnog potpuno brišu. Njegovo remek-djelo, Titania i Bottom s glavom magarca, bilježi ključni trenutak transformacije iz djela Williama Shakespearea, Sanjovna noć. Kompozicija je nevjerojatni vrtlog pokreta i misterija, usredotočen na eteričnu kraljicu Titaniu dok se odmara usred mora treperavih vila. Uz nju sjedi groteskna, no neobično očaravajuća figura Bottoma,…
In the shadowy realm of Johann Heinrich Füssli, the boundaries between sleep and wakefulness dissolve into a haunting spectacle of terror and desire. His seminal work, The Nightmare, stands as a profound exploration of the human psyche, capturing that breathless moment when the terrors of the unconscious manifest in the physical world. The painting presents a woman lying prostrate in bed, her limbs cast downward in a state of vulnerable,…
To stand before this depiction of Lady Macbeth is to confront the very precipice of human ambition curdled by guilt. Johann Heinrich Friesli’s masterful rendering captures not merely a scene from Shakespeare, but the suffocating aftermath of moral transgression. The air in the painting feels thick, heavy with unspoken secrets and the metallic tang of spilled blood. It is an intensely dramatic tableau, steeped in the Romantic fascination with the…
The incubus leaving two young women is an oil on canvas painting by Henry Fuseli. Created about 1794, the work captures a moment of supernatural departure. It belongs to the realms of folklore and demons. The canvas holds a heavy, nocturnal stillness.
The paper holds a heavy silence. In red chalk and sepia wash, a fragmented body lies in repose, its stone limbs severed from a whole. The torso and limbs of a classical male figure occupy the space with a quiet, heavy presence. Strong hatching and cross-hatching define the musculature, mimicking the rough, weathered texture of ancient stone. Light falls from above, casting shadows that carve out the volume of the…
In this drawing from 1785, we find ourselves drawn into a moment of profound psychological unrest. The scene captures a dramatic encounter, likely inspired by the tension of Shakespearean tragedy, where the boundary between the living and the supernatural dissolves. A central figure, arms outstretched, appears caught in a state of sudden, violent realization. Around this focal point, other figures react with a mixture of struggle and silent observation, their…
Henry Fuseli's "The Night-Hag Visiting Lapland Witches," painted in 1796, isn’t merely a depiction of a scene; it’s an immersion into the shadowed heart of human psychology. This arresting oil on canvas, currently residing within the hallowed halls of The Metropolitan Museum of Art in New York City, pulsates with a potent blend of gothic horror and nascent Romanticism – a visual embodiment of fear, superstition, and the unsettling allure…
The Portrait of a Young Woman by Henry Fuseli is a formal portrait of a woman that captures a quiet, contemplative presence. Painted in 1781, this oil on canvas work presents the subject in a way that invites a closer, more personal inspection of her features and expression. It is a piece that reflects the artist's specific interest in the psychological nuances of his sitters.
In the shadowy corridors of art history, few names evoke as much intrigue and nocturnal wonder as Johann Heinrich Füssli. Known to the English-speaking world as Henry Fuseli, this Swiss master was a pioneer of the Romantic movement, a painter who dared to venture into the deepest recesses of the human psyche. His work, particularly his depictions of the supernatural, serves as a bridge between the rational Enlightenment and the…
Head of a Damned Soul from Dante's "Inferno," (verso)1774 · Art Institute of Chicago
12
The insane Kate1807
13
Deutsch Titania liebkost den eselköpfigen Bottom1794 · Kunsthaus Zürich
14
Leonora Discovers Alonzo’s Dagger1792 · Nationalmuseum
15
Celadon and Amelia1801 · Staatliche Kunsthalle Karlsruhe
16
John Milton's Paradise Lost, Satan and the Birth of Sin (Book II, 746-758) Painting no. 6 from The Milton Gallery1785 · Dallas Museum of Art
17
Study for the three witches in Macbeth1783 · Auckland Art Gallery Toi o Tāmaki
18
Euphrosyne before the Imagination and the Temperance1800 · Kurpfälzisches Museum
19
Sketch for "Oath on the Rütli," Female Figure (verso)1779 · Art Institute of Chicago
20
The Dream of Queen Katherine (from William Shakespeare's 'Henry VIII', Act IV, Scene 2)1781 · Victoria and Albert Museum
21
Prince Arthur and the Fairy Queen.1788 · Kunstmuseum Basel
22
Tekemessa and Eurysake1805 · Yale Center for British Art
23
Thetis asks Hephaistos to forge armor for her son Achilles1803 · Kunsthaus Zürich
24
Satan and Death with Sin Intervening1792 · Bavarske državne slikopisne zbirke
25
Ariadne Watching the Struggle of Theseus with the Minotaur1820 · Yale Center for British Art
26
Erotic Scene with a man and three women
27
Danaë and Perseus on Seriphos (?)1787 · Yale University Art Gallery
28
The Erinyes Drive Alcmaeon from the Corpse of his Mother, Eriphyle, Whom He Has Killed.1821 · Kunsthaus Zürich
29
Satan Starting from the Touch of Ithuriels Spear
30
The Weird Sisters -The Three Witches
31
Christ Disappearing at Emmaus1792 · Yale Center for British Art
32
A Shakespearean Subject1785
33
Psyche walks past the Fates undeterred1780
34
Laying Nude and piano player1799 · Kunstmuseum Basel
35
Paolo Malatesta and Francesca da Polenta surprised by Gianciotto Malatesta1785 · Aargauer Kunsthaus
36
The Three Conspirators Swear an Oath on the Rüthli Meadow1779 · Kunsthaus Zürich
37
Portrait of Joseph Priestley1783
38
The nightmare, Detroit Institute of1781
39
Selling of Cupids1776 · Yale Center for British Art
40
The Daughters of Pandareos1795 · Kunsthaus Zürich
41
The Vision of the Deluge1800
42
The loneliness at dawn1796
43
A Scene from 'The Wife of Bath's Tale' (from Geoffrey Chaucer's, 'Canterbury Tales') (recto); Falstaff in the Laundry Basket mocked by Five Women (?) (verso)1812 · Petworth House
44
Puck1810
45
Untitled (AQR9W9)1812
46
Kriemhild sees the dead Siegfried in a dream1805
47
Portrait of a Lady1781 · Detroit Institute of Arts
48
The Serpent tempting Eve (Satan's first address to Eve)1802 · Auckland Art Gallery Toi o Tāmaki
49
Henry V' Act II Scene 2 Discovering the Conspirators1790 · Royal Shakespeare Company Collection
50
The Infant Shakespeare Between Tragedy and Comedy1805 · University of London
51
Ezzelin and Meduna1779 · Sir John Soane's Museum
52
Silence1799 · Kunsthaus Zürich
53
Titania, Bottom and the Fairies1794 · Kunsthaus Zürich
54
The Shepherd's Dream1793 · Tate Gallery
55
The Incubus Leaving Two Sleeping Women1793
56
Macbeth' Act I Scene 3 The Weird Sisters1783 · Royal Shakespeare Company Collection
57
Woman Sitting, Curled up1778 · Nacionalna galerija Danske
58
The Shepherd1786 · Albertina
59
Portrait of the Artist1790 · Szépművészeti Múzeum
60
Dante and Virgil on the Ice of Kocythos1774 · Kunsthaus Zürich
61
Untitled (AQR9WB)2006
62
The Death of Cardinal Beaufort
63
Huon and Amanda with the Dead Alphonso
64
Teiresias Foretells the Future to Odysseus, 1780-17851785 · Albertina
65
Bust Portrait of a Woman with BonnetKupferstichkabinett
66
Swiss; practiced in England, )1741
67
Deutsch Der Feuerkönig English The Fire King Русский Король огня1810
68
The Great Father and Ancient Night
69
King Lear Banishing Cordelia1784
70
Dispute between Hotspur, Glendower, Mortimer and Worcester (from Shakespeare's Henry IV Part 1)1784 · Birmingham Museums And Art Gallery
71
The Italian Count (also known as Ezzelin Bracciaferro, Musing over Meduna, Destroyed by him for Disloyalty)1780
72
Untitled (AQR9VM)1790 · Museum of All Saints
73
Hagen and the Nymphs of the Danube1802 · Metropolitan Museum of Art
74
German Gertrud, Hamlet und der Geist des Vaters1793
75
Milton Dictating to His Daughter1794 · Art Institute of Chicago
76
The Elf Queen Titania and labels, the weavers with donkey's head1794
77
Macbeth, Banquo and the Witches ('Macbeth' Act I Scene 3)1794 · Petworth House
78
Mamillius Conjuring up Sprites and Goblins for His Mother1786
79
Deutsch Belindas Traum English Dream of Belinda Русский Сон Белинды1790
80
Titania is leevtallig met Bottom met de daare Eselkopp1794
81
Deutsch Das Erwachen der Elfenkönigin Titania English The Awakening of the Fairy Queen Titania1790
82
Milton When a Boy Instructed by His Mother1799
83
The Ladies of Hastings1800
84
Horseman attacked by a giant snake1800
85
Deutsch Das Schweigen English The Silence Русский Тишина1801
86
Kriemhild is haunted by her remorse1805
87
La débutante1807
88
Brunhilde Observing Gunther, Whom She Has Tied to the Ceiling1807 · City Museum and Art Gallery
89
Kriemhild zeigt Gunther im Gefängnis den Nibelungenring1807
90
The fairy queen Titania finds the magic ring on the beach1805
91
Kriemhild zeigt Hagen das Haupt Gunthers1805
92
The Fire King1810
93
Deutsch Cerasimus und Huon fliehen vor dem Elfenkönig Oberon1805
94
Kriemhild throws herself on the dead Siegfried1817
95
Leonore Discovering the Dagger Left by Alonzo
96
Portrait of Magdalena Hess from Zurich
97
The Enchanted Island. Before the Cell of Prospero
98
PERSEUS RETURNING THE EYE OF THE GRAII
99
Die Hexe
100
Puck
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Johann Heinrich Füssli | Slike iz ovog popisa |
|---|---|---|---|
 Kunsthaus Zürich |
Zürich | 12 | The Artist Moved by the Grandeur of Antique Fragments, Deutsch Titania liebkost den eselköpfigen Bottom, Thetis asks Hephaistos to forge armor for her son Achilles |
 Yale Center for British Art |
New Haven | 7 | Scene of Witches, from The Masque of Queens by Ben Jonson, Tekemessa and Eurysake, Ariadne Watching the Struggle of Theseus with the Minotaur |
 Detroit Institute of Arts |
Detroit | 3 | Noćna mora, Portrait of a Young Woman, Portrait of a Lady |
 Art Institute of Chicago |
Chicago | 3 | Head of a Damned Soul from Dante's "Inferno," (verso), Sketch for "Oath on the Rütli," Female Figure (verso), Milton Dictating to His Daughter |
 Metropolitan Museum of Art |
New York | 3 | The Night-Hag Visiting Lapland Witches, Hagen and the Nymphs of the Danube |
 Tate Gallery |
London | 2 | Lady Macbeth with the Daggers, The Shepherd's Dream |
 Auckland Art Gallery Toi o Tāmaki |
Auckland | 2 | Study for the three witches in Macbeth, The Serpent tempting Eve (Satan's first address to Eve) |
 Kunstmuseum Basel |
Basel | 2 | Prince Arthur and the Fairy Queen., Laying Nude and piano player |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
The paper holds a heavy silence. In red chalk and sepia wash, a fragmented body lies in repose, its stone limbs severed from a whole. The torso and limbs of a classical male figure occupy the space with a quiet, heavy presence. Strong hatching and cross-hatching define the musculature, mimicking the rough, weathered texture of ancient stone. Light falls from above, casting shadows that carve out the volume of the…
Fuselijeva "Noćna mora" ikonično je djelo koje dočarava samu bit gotičkog užasa i romantizma. Nastalo 1781. godine, ovo ulje na platnu predstavlja duboko istraživanje podsvjesnog uma, spajajući dramatičnu kompoziciju s bogatim simbolizmom kako bi izazvalo osjećaj nelagode i fascinacije.
In the shadowy realm of Johann Heinrich Füssli, the boundaries between sleep and wakefulness dissolve into a haunting spectacle of terror and desire. His seminal work, The Nightmare, stands as a profound exploration of the human psyche, capturing that breathless moment when the terrors of the unconscious manifest in the physical world. The painting presents a woman lying prostrate in bed, her limbs cast downward in a state of vulnerable,…
Created in 1807, this work reflects a period of intense interest in the irrational and the emotional. The painting moves away from the strict logic of the Enlightenment, leaning instead into the visceral. There is a palpable sense of the supernatural here, where the landscape becomes an extension of the mind. The woman's posture and the dramatic sky suggest a narrative that is felt rather than explicitly told. It is…
To stand before this depiction of Lady Macbeth is to confront the very precipice of human ambition curdled by guilt. Johann Heinrich Friesli’s masterful rendering captures not merely a scene from Shakespeare, but the suffocating aftermath of moral transgression. The air in the painting feels thick, heavy with unspoken secrets and the metallic tang of spilled blood. It is an intensely dramatic tableau, steeped in the Romantic fascination with the…
In the hauntingly beautiful masterpiece "Ariadne Watching the Struggle of Theseus with the Minotaur," completed in 1820, Johann Heinrich Füssli invites us into a realm where myth and nightmare converge. This work stands as a profound testament to the Romantic era’s obsession with the sublime—that intoxicating, unsettling intersection of breathtaking beauty and paralyzing terror. As we gaze upon this canvas, we are not merely spectators of a classical legend; we…
Noćna mora (1781), Detroit Institute of Arts, Detroit. Nakon njih slijede Titania i Bottom s glave medvjeda i The Nightmare (1790).
40 godina: Noćna mora datira iz 1781, a Johann Heinrich Füssli je rođen/a 1741.
Noćna mora, Titania i Bottom s glave medvjeda, The Nightmare, Lady Macbeth with the Daggers, The incubus leaving two young women, The Artist Moved by the Grandeur of Antique Fragments, Hamlet and his father's Ghost, The Night-Hag Visiting Lapland Witches, Portrait of a Young Woman i Scene of Witches, from The Masque of Queens by Ben Jonson. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 161 djela umjetnika Johann Heinrich Füssli, datiranih od 1774 do 1821.
Većinom u Kunsthaus Zürich (Zürich), Yale Center for British Art (New Haven) i Detroit Institute of Arts (Detroit). Gornja tablica muzeja navodi sve njih.
U 1790s: 25 od 100 djela na ovoj stranici nastalo je tada, od čega je The Nightmare The Nightmare.
Na ovoj stranici najstarije djelo je iz Head of a Damned Soul from Dante's "Inferno," (verso) (1774), a najnovije iz The Erinyes Drive Alcmaeon from the Corpse of his Mother, Eriphyle, Whom He Has Killed. (1821).
Woman (15), Dark background (13) i Shadows (12), kroz svih 100 djela na ovoj stranici.
Oil On Canvas, za 29 od 100 djela na ovoj stranici.
Romantic gothic horror, sudeći po originalima na ovoj stranici.
The Artist Moved by the Grandeur of Antique Fragments, Deutsch Titania liebkost den eselköpfigen Bottom i Thetis asks Hephaistos to forge armor for her son Achilles: Kunsthaus Zürich, Zürich posjeduje 9 djela s ove stranice.
Henry Fuseli rođen je 7. veljače 1741. godine u Zürichu, u Švicarskoj. Odrastao je u velikom kućanstvu, kao drugo od osamnaest djece. Njegov otac, Johann Caspar Füssli, bio je čovjek koji je vladao i kistom i perom; radio je kao slikar portreta i pejzaža, a istovremeno je pisao Lives of the Helvetic Painters. Takvo okruženje pružilo je stabilnu, iako prepunom, kulisu njegovim najranijim godinama.
Njegovo obrazovanje slijedilo je strukturiran put u Collegium Carolinum u Zürichu, gdje je proučavao klasiku. Ovo formalno obrazovanje u jezicima i povijesti kasnije će obojiti način na koji je pristupao svojim temama. Međutim, život nije tekao izravno prema platnu. Godine 1761. primio je svete ordene i proveo određeno vrijeme služeći kao pastor.
Put svećenika nije bio njegova konačna odrednica. Njegove rane godine obilježila je napetost između religijskog života za koji je bio pripremljen i vizualnog svijeta njegovog oca. To razdoblje proučavanja i službe pružilo je intelektualnu podlogu koja će na kraju potkrijepiti njegova kasnija, dramatičnija interesiranja.
Godine 1765. stigao je u Englesku, tražeći načine da se uzdržava kroz razne pisarske poduhvate. Upravo je u tom razdoblju upoznao Sir Joshuua Reynoldsa. Nakon što je ugledao njegove crteže, Reynolds mu je sugerirao da napusti ostale pretrage i posveti se u potpunosti slikarstvu. Taj savjet označio je ključnu prekretnicu u njegovom životnom i umjetničkom smjeru.
Godine 1770. započeo je svoje umjetničko hodočašće u Italiju, boravši tamo sve do 1778. godine. Živiteći u Rimu, većinu vremena provodio je kontemplirajući djela Michelangela i mramorne statue s Monte Cavalla. Upravo je tijekom tih godina provedenih u Italiji odlučio promijeniti svoje prezime iz Füssli u Fuseli, kako bi zvučalo više talijanski.
Nakon povratka u Britaniju početkom 1779. godine, Henry Fuseli je pronašao svoje mjesto u londonskoj umjetničkoj sceni zahvaljujući povelji od magistrata Johna Boydella. Ovaj angažman uključivao je doprinos Shakespeareovoj galeriji, projektu koji mu je omogućio da dramatsku književnost prenese u vizualni oblik. Njegova prisutnost u gradu postojano je rastersala kako se kretao kroz institucionalne rangove Kraljevske akademije; već 1788. godine postao je suradnik, a do 1790. godine i punopravni akademik.
Njegov utjecaj unutar Akademije protezao se daleko izvan njegovih vlastitih platna. Nosio je značajne administrativne i pedagoške odgovornosti, služeći kao čuvar, a kasnije i kao profesor slikarstva. Te su mu uloge stavile u samu središte britanskog umjetničkog poučavanja. Njegov život u Londonu obilježili su te službene dužnosti te brak sa Sofijom Rawlins, koja je bila jedna od njegovih modela. Mnoge godine ostao je nepokolebljiv stup strukture Akademije.
Velik dio njegovog stvaralaštva usmjeren je prema mračnim kutovima ljudske psihe. U svom djelu iz oko 1781. godine, Noćna mora, Henry Fuseli istražuje tešku, uznemirujuću težinu snova i nesvjesnog. Često je okretao pažnju prema dramatičnoj napetosti koja se nalazi u književnosti. Za Boydellovu Shakespeareovu galeriju stvorio je niz djela, snažno se fokusirajući na drame Williama Shakespearea. Njegovo interesiranje za Bardove priče dovelo ga je do prikazivanja scena poput onih iz drame Macbeth, gdje je majstorski uspio uhvatiti psihološku borbu i napetost likova.
Izvan kazališne scene, crpio je inspiraciju iz antike i svetosti. Njegova platna često interpretiraju mitološke i biblijske priče, koristeći idealizirane proporcije kako bi pojačao osjećaj fantastičnog. Također je posvetio vrijeme razvoju serije slika temeljjenih na djelima Johna Miltona, nastojeći prevesti pjesnikov epicni vizionarski svijet u vizualni oblik. Takve teme omogućile su mu da se fluidno kreće između domena božanskog i grotesnog.
Henry Fuseli nije samo sudjelovao u pokretu romantizma; on je bio onaj koji je zapalio njegov plamen. Njegovo djelo odmaknulo se od stroge logike Prosvjetiteljstva, okrenuvši se umjesto toga onome što je visceralno i duboko emocionalno. Taj je pomak utekao put novom vrstama vizualnog jezika u Britaniji, dok je njegova opsesija podsviješću i iracionalnim elementima ostavila neizbrisiv trag u britanskom umjetničkom krajoliku, oblikujući smjer kojim će se kretati mnogi mlađi umjetnici u dekadama koje su uslijedile.
Njegov se sjaj može uočiti u radovima umjetnika kao što je William Blake, koji je dijelio sličan interes za vizionarski i intenzivan izraz. Fuselijeva sposobnost izvlačenja tema iz dubina snova i nadnaravnog svijeta pružila je model za istraživanje ljudske psihe putem platna. Čak i danas, njegov fokus na uznemirujuće i fantastično nastavlja privlačiti publiku. Njegov interes za to kako košmar *izgleda* u osjećaju, a ne samo kako se prikazuje, ostaje ključni dio njegovog značaja u povijesti umjetnosti.
