In this essay, Martin Myrone explores aspects of the art of the Swiss-born painter Henry Fuseli (1741-1825) in the context of the transformation of the public culture of art in late-eighteenth-century Britain. Considering Fuseli's paintings of invented subjects exhibited at the Royal Academy in the 1780s, and his highly idiosyncratic and imaginative interpretation of Miltonic and other source material, the essay argues for the emergence in his work of a distinctively spectacular aesthetic, allied in its narrative effects and thematics both to gothic literature and to the new technologies of popular entertainment, notably the Phantasmagoria.
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Huntington Library Quarterly
University of Pennsylvania Press
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