The Pretty Gentleman

Collection by Max Fincher

34 
Pins
 • 
6 
Followers
Max Fincher
Johan Tobias Sergel, Diomedes (Marble, 1774, 150cm) [NationalMuseum, Stockholm]    Sergel was a Swedish sculptor and friends with Henry Fuseli whom he met in Rome in the 1770s. The statue was commissioned for Thomas Mansel Talbot in Italy, and is an example of neo-classicism. The Greek hero, Diomedes, holds a stolen trophy,  a statuette of the Greek goddess Athena. Diomedes' theft of the statue leads to the fall of Troy, as Wallace explains to George. The story is in Virgil's 'The Aeneid'. Athena Goddess, Chef D Oeuvre, Tobias, Troy, Les Oeuvres, Erotic, Sculptures, Statue, Friends

Johan Tobias Sergel, Diomedes (Marble, 1774, 150cm) [NationalMuseum, Stockholm] Sergel was a Swedish sculptor and friends with Henry Fuseli whom he met in Rome in the 1770s. The statue was commissioned for Thomas Mansel Talbot in Italy, and is an example of neo-classicism. The Greek hero, Diomedes, holds a stolen trophy, a statuette of the Greek goddess Athena. Diomedes' theft of the statue leads to the fall of Troy, as Wallace explains to George. The story is in Virgil's 'The Aeneid'.

Fussli: Erotic scene of a man with two women, , Canvas on Stretcher, Framed Picture, Glass Print and Wall Paper. Love And Lust, Gay Art, Art Reproductions, Erotic Art, Picture Frames, Art Gallery, Scene, Fine Art, Art Prints

Henry Fuseli, 'Erotic scene with a man and a woman before a priapic term' (c.1770-78) [Pen, grey wash, ink]. The Greek inscription reads 'Grow large, male progenitor'. This drawing forms part of an early collection of drawings that Fuseli made while in Rome. Whether or not these studies were designed for private pleasure, or were shared, is unresolved. Fuseli's friend, the sculptor, Sergel, made a similar study, Fuseli's contemporaries, including Turner, had cabinets of similar erotica.

William Mulready, 'Life Drawing of a Standing Male Nude' [Royal Academy of Arts, London]. Although from a later period, Mulready's study is an example of the kind of life drawing study that is typical of the Academy school. Drawing Studies, Royal Academy Of Arts, Art Model, Body Language, Life Drawing, Nudes, Erotica, Gentleman, Period

William Mulready, 'Life Drawing of a Standing Male Nude' (1863). [Royal Academy of Arts, London]. Although from a later period, Mulready's study is an example of the kind of life drawing study that is typical of the Academy school.

Claude Lorrain : Landscape with Argos guarding Io (Holkham Hall) クロード・ロラン Landscape Art, Landscape Paintings, Art Paintings, River Painting, Hudson River School, School Painting, Country Paintings, Oil Painting Reproductions, Caravaggio

Claude Lorrain, 'A Sunset or Landscape with the Argus guarding Io' 'Pure as Italian air, calm, beautiful and serene, springs forward the works and with them the name of Claude Lorrain. The golden orient or the amber-coloured ether, the midday ethereal vault and fleecy skies, resplendent valleys, campagnas rich with all the cheerful blush of fertilization, trees possessing every hue and tone of summer's evident heat' (J.M.W. Turner) To see more paintings: www.claudelorrain.org

FUSELI, John Henry Ezzelin and Meduna 1779 Oil on canvas, x cm Sir John Soane’s Museum, London Canvas Art Prints, Fine Art Prints, Art Romantique, Web Gallery, William Blake, Museum, Art Database, Ravenna, Art Uk

Henry Fuseli, 'Ezzelin musing over Meduna' (1780) [Sir John Soane Museum, London]. As the poet Lord Byron was to discover, there is no literary source for the subject of the painting, like 'The Nightmare'. The full title suggests that Fuseli encourages the viewer to imagine a Gothic narrative based around secrecy and infidelity, and which alludes to the 'Bluebeard' tale: 'Ezzelin Musing over the body of his wife Meduna, slain by him for her infidelity during his absence on the crusades'.

Thomas Cooley, J.W Turner; Kindred Soul, Purple Art, National Portrait Gallery, Pencil, Sketches, Gentleman, Paintings, London, Paper

Thomas Cooley, J.M.W Turner; Henry Fuseli (1810) [Pencil, National Portrait Gallery, London]

John Henry Fuseli Lady Macbeth with the Daggers, , Tate Gallery, London. Read more about the symbolism and interpretation of Lady Macbeth with the Daggers by John Henry Fuseli. William Shakespeare, Shakespeare Plays, Lady Macbeth, Mary Shelley, Frankenstein, Female Villains, Tate Gallery, Tate Britain, Art Uk

Henry Fuseli, 'Lady Macbeth seizing the daggers' (1812) [Tate gallery, London] Throughout his career, Fuseli painted many scenes from Shakespeare's plays, especially the supernatural and fantastic elements. Fuseli was a major contributor to the printer Joseph Boydell's 'Shakespeare's gallery', opened in 1789 in Pall Mall. Intended to showcase contemporary artists' work, the political capital of Boydell's project, celebrating English artists, against 'foreign' art schools was evident.

Pylades and Orestes Brought as Victims Before Iphigenia by Benjamin West 1766 oil on canvas Tate Britain Art Of Manliness, Renaissance, National Gallery, Greek And Roman Mythology, Classical Mythology, Tate Gallery, Artist Gallery, Art Terms, Romantic Period

Benjamin West, 'Pylades and Orestes brought as victims before Iphigenia' (1766) [Tate Gallery, London] Benjamin West was the pre-eminent historical painter of the time, patronized by George III, and later made President of the Royal Academy. West's painting is a good example of the classical style of high art 'history' painting that the Academy expected its students to achieve. Fuseli's brand of classicism is more mannered, expressionistic, even hyperbolic, compared to West, almost…

Michael Angelo Rooker, A., The Gatehouse of Battle Abbey, Sussex, Pencil and watercolour on wove paper Renaissance, Art Quiz, Thomas Gainsborough, Bayeux Tapestry, Gate House, Royal Academy Of Arts, First Art, Love Art, Art Blog

Michel "Angelo" Rooker, 'The Gatehouse of Battle Abbey, Sussex' (1792) Rooker was one of the watercolourists exhibiting at the Royal Academy in the late eighteenth century. Especially after the French Revolution which restricted Continental travel, painters toured Britain painting local "picturesque" topography, especially castles, historic ruins and landscapes. Rooker also worked as a scene painter at the Haymarket Theatre.

John Henry Fuseli The Nightmare, , Institue of Arts, Detroit. Read more about the symbolism and interpretation of The Nightmare by John Henry Fuseli. Scary Paintings, Goya Paintings, Vintage Paintings, Classic Paintings, Fantasy Paintings, Vintage Art, Art Noir, Arte Obscura, Art History

Henry Fuseli, 'The Nightmare' (1781). This painting is probably Fuseli's most recognized painting today. There are two variations of the painting, and several caricatures appeared afterwards. Sigmund Freud had a copy of the painting on the wall of his study.

Henry Fuseli by James Northcote. Zurich, Roman Noir, National Portrait Gallery, Sculptures, English, Artwork, Greeks, Historian, Painting

James Northcote, 'Portrait of Henry Fuseli' (1778) [National Portrait Gallery, London] Henry Fuseli (1741-1825) was Swiss, and the son of the painter and art historian Johann Caspar Fussli. He was friends with the German philosopher, Johann Caspar Lavater, and studied theology in Zurich. Fuseli translated into English Johann Wincklemann's, 'Reflections on the Painting and Sculptures of the Greeks', and he was both Keeper of the Royal Academy and Professor of Painting until 1825.

C. R. Cockerell, 1810.     Lord Elgin (1766-1841) was ambassador to Constantinople in 1800, and an antiquarian. On the orders of his private secretary, almost half of the friezes, metopes and sculptures from the Parthenon temple in Athens (then a Turkish fort) were removed and shipped back to England. Between 1807 and 1815 they were housed in a makeshift 'shed' in various locations around in Piccadilly, including Burlington House (now home to the RA). They formed the basis of the British… Burlington House, Parthenon, British Museum, Secretary, Athens, Gentleman, Parks, Temple, The Neighbourhood

C. R. Cockerell, 1810. Lord Elgin (1766-1841) was ambassador to Constantinople in 1800, and an antiquarian. On the orders of his private secretary, almost half of the friezes, metopes and sculptures from the Parthenon temple in Athens (then a Turkish fort) were removed and shipped back to England. Between 1807 and 1815 they were housed in a makeshift 'shed' in various locations around in Piccadilly, including Burlington House (now home to the RA). They formed the basis of the British…

'The Ilissos' (c. 430BC, West Pediment, A) [British Museum, London]    One of the torso sculptures from the west pediment of the Parthenon. The Ilissos is a river god, named after a river in Athens, flowing to the south of the Acropolis where the Parthenon temple was sited. When Elgin's consignment of sculptures arrived in England, artists were excited by the inherent realism and dynamism of these carving. The twisting torso and complex posture suggest that the god is about to move. Parthenon, Acropolis, Sculptures, Lion Sculpture, British Museum, Athens, Gentleman, Temple, England

'The Ilissos' (c. 430BC, West Pediment, A) [British Museum, London] One of the torso sculptures from the west pediment of the Parthenon. The Ilissos is a river god, named after a river in Athens, flowing to the south of the Acropolis where the Parthenon temple was sited. When Elgin's consignment of sculptures arrived in England, artists were excited by the inherent realism and dynamism of these carving. The twisting torso and complex posture suggest that the god is about to move.

'A Centaur and a Lapith in combat' (South metope, XXXI) [British Museum, London]    One of a series of 'metopes', or sculpted slabs (about 1.2m high) that ran all the way around the pediment of the Parthenon temple in Athens, and which Elgin had transported to London. These metopes show centaurs mythical half-man, half-animal figures, engaged in combat with Lapith men from Thessaly, possibly at the wedding of Peirithous, King of the Lapiths, when the centaurs tried to rape the Lapith women. Half Man, Parthenon, Centaur, British Museum, Mythical Creatures, Athens, Elves, Sculpting, Gentleman

'A Centaur and a Lapith in combat' (South metope, XXXI) [British Museum, London] One of a series of 'metopes', or sculpted slabs (about 1.2m high) that ran all the way around the pediment of the Parthenon temple in Athens, and which Elgin had transported to London. These metopes show centaurs mythical half-man, half-animal figures, engaged in combat with Lapith men from Thessaly, possibly at the wedding of Peirithous, King of the Lapiths, when the centaurs tried to rape the Lapith women.

Pinterest