Noč (1781) je najbolj znano sliko avtorja Henry Fuseli, ki se nahaja v muzeju Detroit Institute of Arts v mestu Detroit. Titania in Bottom z glavo osla in The Nightmare (1790) sta naslednji dve dela, ki jih svet najbolje pozna. Od 161 del umetnika Henry Fuseli v našem katalogu so tu tista 100, ki jih zbiratelji in obiskovalci muzejev najpogosteje opazujejo, vključno z letnico, muzejom in zgodbojo vsakega dela.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno oktober 2026. Vsako podobno delo na tej strani je mogoče naročiti kot muzejsko kakovostno ročno slikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti.
Fuselijeva "Noč" je ikonično delo, ki v celoti zajema bistvo gotičnega užasa in romantizma. To oljno slikarstvo, ustvarjeno leta 1781, predstavlja globoko raziskovanje podzavestnega uma, saj dramatično kompozicijo združuje z bogato simboliko, da bi vzbudilo občutek nemira in fascinacije.
V senovitih, mesečinom prežganih globinah starodavnega gozd_a Johann Heinrich Füssli nas vabi v svet, kjer se meje med človeškim in nadnaravnim popolnoma raztopijo. Njegovo vrhunsko delo, Titania in Bottom z glavo osla, zajema ključni trenutek transformacije iz Williamove Shakespearejeve drame Srednje poletna noč. Kompozicija je zapira oči v vrtoglav whirlwind gibanja in skrivnostnosti, osredotočen na eterično kraljico Titanijo, ko se leže med morje trepetljajih vilic. Ob njej sedi groteskna, a…
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.
Johann Heinrich Fuseli’s “The Artist Moved by Antique Fragments,” completed in 1778-79, stands as a haunting testament to Romanticism's preoccupation with mortality and the sublime beauty found within decay. Executed in red chalk on sepia wash—a technique favored by Fuseli—the drawing captures an artist grappling with the overwhelming grandeur of ruined monuments, specifically those of the Colossus of Constantine at Rome’s Capitoline Museums.
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…
Portrait of a Young Woman by Henry Fuseli: A Gothic Reverie The Portrait of a Young Woman by Johann Heinrich Füssli, painted in 1781, stands as an arresting emblem of the Romantic movement’s fascination with psychological depth and unsettling beauty. More than just a depiction of a female figure, it's a meticulously crafted tableau that delves into themes of dreams, fear, and the subconscious—a realm where reason yields to imagination…
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…
Deep shadows swallow the edges of the canvas, leaving only a single, tormented face to struggle against the encroaching dark. A heavy, shroud-like fabric clings to the brow…
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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,…
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Deutsch Titania liebkost den eselköpfigen Bottom is an oil on canvas created by Henry Fuseli in 1794. The work originates from the artist's mature period, a time when…
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The composition is contained within a circular tondo, focusing the viewer's attention on a high-stakes encounter. A man with dark skin, clad in white tunics accented by a…
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In this 1801 oil painting, Henry Fuseli captures a singular, heavy moment of grief. The scene depicts the immediate aftermath of a lightning strike. Celadon and Amelia, two…
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In this dramatic composition from 1785, we find ourselves witnessing a moment of profound cosmic upheaval. The central figure, a muscular male rendered in pale, luminous flesh tones,…
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In this oil on canvas study, titled Study for the three witches in Macbeth, the artist Henry Fuseli explores a moment of profound tension. Created in 1783, the…
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Euphrosyne before the Imagination and the Temperance is a work by the Swiss artist Henry Fuseli, executed between 1799 and 1800. The painting belongs to the artist's Milton…
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To hold this work is to witness the very pulse of the creative process. This double-sided oil on canvas offers a rare, intimate glimpse into the mind of…
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The Dream of Queen Katherine (from William Shakespeare's 'Henry VIII', Act IV, Scene 2) is an oil painting created in 1781 by the Swiss artist Henry Fuseli, also…
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We are looking at Prince Arthur and the Fairy Queen., an oil on canvas painted by Henry Fuseli. This work, which carries the alternative title Prinz Arthur und…
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Henry Fuseli's Tekemessa and Eurysakes, executed about 1805, draws its narrative from the ancient Greek tragedy Ajax by Sophocles. The composition focuses on the immediate aftermath of the…
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The air in the cavern is thick with the scent of cooling metal and ancient dust. Within this dark, enclosed space, a triangular grouping of figures gathers, their…
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In this oil on canvas, titled Satan and Death with Sin Intervening, we encounter a work by Henry Fuseli. The artist, also known as Johann Heinrich Fussli, presents…
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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…
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The oil on canvas titled Danaë and Perseus on Seriphos (?) was executed by the artist Henry Fuseli. This work dates to ca. 1785–90. The physical dimensions of…
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The painting titled The Erinyes Drive Alcmaeon from the Corpse of his Mother, Eriphyle, Whom He Has Killed. is an oil on canvas work by the artist Henry…
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The scene unfolds in a moment of sudden, startling revelation within the work titled Satan Starting from the Touch of Ithuriels Spear. This creation by Henry Fuseli captures…
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To gaze upon Johann Heinrich Füssli's depiction of Christ Disappearing at Emmaus is to step directly into a moment suspended between the earthly and the divine. This painting…
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The scene unfolds within the shadows of Laying Nude and piano player, an oil on canvas that captures a quiet, heavy moment. Henry Fuseli breathes life into this…
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The portrait presents a single female figure positioned centrally against a dark, indeterminate background. The subject is depicted from the waist up, wearing a voluminous white gown that…
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The artwork titled The Serpent tempting Eve (Satan's first address to Eve) was executed by the artist Henry Fuseli. This specific piece dates to 1802. It functions as…
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This meticulously crafted hand-painted reproduction captures a pivotal moment from William Shakespeare’s *Henry V*, specifically Act II, Scene 2 – the unsettling discovery of the conspirators. Executed in…
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To stand before Johann Heinrich Füssli’s depiction of The Infant Shakespeare Between Tragedy and Comedy is to step through a veil of time, encountering not merely a portrait,…
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The artwork Ezzelin and Meduna by Henry Fuseli presents a scene centered on two figures within a dark, enclosed setting. The subject matter depicts Ezzelin Bracciaferro musing over…
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In the quietude of Johann Heinrich Füssli’s Silence, we are invited into a realm where the boundaries between the physical and the psychological begin to blur. The painting…
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In the grand tapestry of Romantic art, few works capture the feverish intensity of the human imagination quite like Johann Heinrich Füssli’s “Titania, Bottom and the Fairies.” Painted…
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The Shepherd's Dream is a remarkable oil painting created by the Swiss-born British artist Henry Fuseli (Johann Heinrich Füssli) in 1793. This masterpiece is currently housed at the…
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In the hauntingly beautiful realm of Johann Heinrich Füssli, the boundaries between reality and the subconscious dissolve into a mist of shadows and moonlight. His work, The Incubus…
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Macbeth' Act I Scene 3 The Weird Sisters is a work by the Anglo-Swiss painter Henry Fuseli. Born in Zürich in 1741, the artist brought a sense of…
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Johann Heinrich Füssli's "Woman Sitting, Curled up," executed in 1778, is a deceptively simple yet profoundly evocative drawing that speaks to the core of human experience – rest,…
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In the ethereal realm of Johann Heinrich Füssli, the boundaries between the earthly and the divine dissolve into a breathtaking tapestry of light and shadow. His masterpiece, The…
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The drawing Portrait of the Artist is a work by Henry Fuseli. Created in 1790, this piece captures a singular moment of quietude. It exists as a delicate…
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In the hauntingly atmospheric Dante and Virgil on the Ice of Kocythos, we are thrust into a realm where the boundaries between the physical and the metaphysical dissolve.…
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In the ethereal realm of late eighteenth-century Romanticism, few artists captured the tension between the mortal and the divine as hauntingly as Johann Heinrich Füssli. His watercolor masterpiece,…
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In the delicate, translucent layers of Johann Heinrich Füssli’s watercolor portrait, we find ourselves peering into a private moment of late 18th-century elegance. This bust portrait of a…
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The painting Deutsch Der Feuerkönig English The Fire King Русский Король огня is a work by Henry Fuseli. Born in Zurich, Switzerland, in 1741, the artist lived until…
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In the evocative masterpiece Hagen and the Nymphs of the Danube, the legendary Swiss artist Johann Heinrich Füssli invites us into a realm where the boundaries between the…
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Četiri teme, ki se najpogosteje pojavljajo med temi mojstrovinami, s najboljšim primerom za vsako izmed njih.
8 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Henry Fuseli | Slike iz tega seznama |
|---|---|---|---|
 Kunsthaus Zürich |
Žurih | 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 | Noč, 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 |
 Metropolitanski muzej umetnosti |
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 |
Johann Heinrich Fuseli’s “The Artist Moved by Antique Fragments,” completed in 1778-79, stands as a haunting testament to Romanticism's preoccupation with mortality and the sublime beauty found within…
Fuselijeva "Noč" je ikonično delo, ki v celoti zajema bistvo gotičnega užasa in romantizma. To oljno slikarstvo, ustvarjeno leta 1781, predstavlja globoko raziskovanje podzavestnega uma, saj dramatično kompozicijo…
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,…
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,…
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…
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…
Noč (1781), Detroit Institute of Arts, Detroit. Nato sledeta Titania in Bottom z glavo osla in The Nightmare (1790).
40 let: delo Noč iz leta 1781, pri čemer je Henry Fuseli rodil/a v 1741.
Noč, Titania in Bottom z glavo osla, 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 in Scene of Witches, from The Masque of Queens by Ben Jonson. Zgornja lestica prikazuje leto in muzej za vsako od njih.
V našem katalogu je navedenih 161 del avtorja Henry Fuseli, datiranih od 1774 do 1821.
Večina njih se nahaja v Kunsthaus Zürich (Žurih), Yale Center for British Art (New Haven) in Detroit Institute of Arts (Detroit). Zgornja tabela navaja muzeje posamezno.
V obdobju 1790s: 25 od 100 del na tej strani izvira iz tega obdobja, med katerimi je The Nightmare.
Najstarejšo delo na tej strani je iz Head of a Damned Soul from Dante's "Inferno," (verso) (1774), najnovejše pa iz The Erinyes Drive Alcmaeon from the Corpse of his Mother, Eriphyle, Whom He Has Killed. (1821).
Woman (16), Dark background (13) in Shadows (12), med 100 dela na tej strani.
Oil On Canvas: 29 od 100 del na tej strani.
Romantic gothic horror, kot to pokažejo slike na tej strani.
The Artist Moved by the Grandeur of Antique Fragments, Deutsch Titania liebkost den eselköpfigen Bottom in Thetis asks Hephaistos to forge armor for her son Achilles so med 9 dela na tej strani, ki jih hrani Kunsthaus Zürich, Žurih.
Da. Vsako sliko na tej strani lahko naročite kot muzejsko kakovostno ročno naslikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti neposredno s strani posamezne slike.
Johann Heinrich Füssli se je rodil 7. februarja 1741 v Zürichu, v Švici. V svoji mladosti je odrasel v velikem gospodinjskem okolju kot drugi od osumnajstih otrok. Njegov oče, Johann Caspar Füssli, je bil človek, ki je obvladoval tako čopič kot pero; delal je kot portretni in pejzažni slikar, hkrati pa je pisal tudi Lives of the Helvetic Painters. To okolje je njegovim zgodnjim letom nudilo stabilno, čeprav prenatrpano in dinamično kuliso.
Njegova izobrazba je sledila strukturirani poti na Collegium Carolinum v Zürichu, kjer je študiral klasično literaturo. Ta formalna izobrazba na področju jezika in zgodovine je pozneje vplivala na način, na podjetljiv način, ki ga je sprejema bil do svojih motivov. Vendar se je življenje v njegovem primeru ni odmaknilo neposredno proti platnu. Leta 1761 je sprejel verske poljubnosti in preživel obdobje, ko je služil kot duhovni pastir.
Potez duhovnega vodje ni bila njegova končna ciljna točka. Njegova zgodnja leta je zaznamovalo napetost med religioznim življenjem, za katerega je bil pripravljen, in vizualnim svetom njegovega očeta. To obdobje študija in služenja je postavilo intelektualno temelj, ki je kasneje podprl njegove bolj dramatične umetniške interese.
Leta 1765 je prispel v Anglijo, kjer je poskujal preživeti z raznimi pisarskimi podjetji. Prav v tem obdobju se je srečal s Sir Joshua Reynolds. Ko je Reynolds videl njegove riske, mu je svetoval, naj opusti svoje druge zadevne in se posveti izključno slikarstvu. Ta nasvet je predstavljal ključno prelomnico v njegovi umetniški poti.
Leta 1770 se je odpravil na umetniško priglado v Italijo, kjer je ostal vse do leta 1778. Med življenjem v Rimu je največ časa preživel pri razmišljanju o Michelangelovih delih in marmornih kipih na Monte Cavallo. Prav v teh letih v Italiji se je odločil, da svoje ime spremeni iz Füssli v bolj italijansko zvenetemu Fuseli.
Ob vrnitvi v Britanijo zgodaj leta 1779 je Henry Fuseli našel svoj prostor v londonskem umetnostnem okolju zahvaljavitvi naročilu aldermana Johna Boydella. Ta naloga je vključevala sodelovanje pri Shakespearevi galeriji, projektu, ki mu je omogočil prevod dramatske literature v vizualno podobo. Njegova prisotnost v mestu se je nenehno širila, ko je napredoval skozi institucionalne stopnje Kralne akademije. Leta 1788 je postal izdelek, v letu 1790 pa je postal polnopravni akademik.
Njegov vpliv znotraj akademije se je širil daleč 넘어 njegove lastne platnine. Imeval je pomembne administrativne in pedagoške odgovornosti, služil kot kustos in kasneje kot profesor slikarstva. Te vloge so ga postavile v sam srgce britanske umetnostne izobrazbe. Njegovo življenje v Londonu so obeleževale te uradne dolžnosti in poroka s Sofio Rawlins, ki je bila ena njegovih modelov. Dolga leta je ostal ključni steber strukture akademije.
Velik del njegove umetnosti je usmerjen v globine človeške psihe in globoko vatore v sogovornike naših najskritovših misli. V svojem znamenitem delu iz leta približno 1781, Nočna mora, Henry Fuseli raziskuje težko, nemirno težo sanj in podzavestnega. Pogosto je svojo pozornost usmerjal v dramatično napetost, ki jo najdemo v literaturi. Za Boydellovo Shakespearevo galerijo je ustvaril več del, pri čemer se je močno osredotočil na drame Williama Shakespeareja. Njegov zanimanje za Shakespearove zgodbe ga je vodilo v prikazovanje scen, kot je tista iz opere Macbeth, kjer je uspešno zajel psihološko napetost in notranji nemir likov.
Poleg teatralskih scen je umetnik črpal inspiracijo iz antike in svetega. Njegova platna pogosto interpretirajo mitološke in biblijske pripovedi, pri čemer je uporabljal idealizirane proporcije, da bi poudaril občutek fantastičnosti. Čas je poświęil tudi razvoju serije slik, ki temeljijo na delih Johna Miltona, s čimer je želel episke vizije pesnika preuravničiti v vizualno obliko. Te teme so mu omogočale, da se brez težav premika med območji božetnega in grotesknega.
Henry Fuseli ni le sodeloval v romantičnem gibanju; on je pomagal, da se je to gibanje dejansko razvilo. Njegovo del se je odmaknilo od strogih logičnih okvirjev razsvetljenstva in se namesto tega usmerilo v globoko, visceralno in čustveno izražičnost. Ta premik je pomagal paveti pot novemu vrstnemu vizualnemu jeziku v Britaniji. Njegova obsedenost podzavesti in iracionalnega je pustila neizbrisno marko na britanski umetniški pejzaž ter vplivala na smer, ki so jo v naslednjih desetetjih izbrali številni mlajši umetniki.
Njegov stik lahko opazimo v delu umetnika, kot je William Blake, ki je delil podoben interes za vizionarsko in intenzno umetnost. Fuselijeva sposobnost izvlečenja tem iz globin sanj in nadnaravnih doživetij je ponudila vzorec za raziskovanje človeške psihe skozi barvo in platno. Še danes njegova usmerjenost v neznano in fantastično še vedno privablja ljudi. Njegov zanimanje za to, kako se nočna mora dejansko *čuti*, namesto le kako izgleda, ostaja ključni del njegovega prispevka v zgodovini umetnosti.
