Fuseli served as Professor of Painting at the Royal Academy Schools between , and and was also Keeper of the Schools from until his death in Sketch of a nude male figure in the pose of the Dioscuri , c.
Prospero summons Ariel: a scene from Shakespeare's Tempest , 1 January A man asleep in bed, a female figure in profile stands on the left , ca. Aratus the Poet and Urania the Muse of Astronomy , c. A Mother with her Family in the Country , 1 March Virtue reclaiming Youth from the arms of Vice , 1 March Fantasy portrait of Michelangelo before the Roman Coliseum , Woman's hand and arm with a bracelet , May Sibyl with Open Book in her Lap , April Determined to become a history painter, he was encouraged by Joshua Reynolds to study in Italy, and to this end he departed for Rome in His years in Rome, from to , influenced him profoundly.
He soon found himself at the center of a talented group of like-minded English and continental artists which included Alexander Runciman, Johan Tobias Sergei, and Nicolai Abildgaard. In addition to the Antique, Fuseli studied carefully the works of Michelangelo and certain artists of the Mannerism style , and from these diverse sources forged a distinctively personal set of aesthetics. In Fuseli returned to London and began exhibiting history paintings regularly at the Royal Academy.
It has become Fuseli's most famous painting, and was a landmark in the development of Romanticism. The Nightmare owes its enduring popularity to 2 main factors: it was one of the first paintings to successfully portray an intangible idea, rather than an event, a person, or a story. Second, the exact intentions of the artist remain obscure. The creature squatting on the woman is an incubus or mara.
He left many of his drawings with Lavater in Zurich, where Goethe and others eagerly sought them out. In Fuseli returned to London, exhibiting regularly at the Royal Academy from His first outstanding success was The Nightmare, exhibited in Reynolds promoted his election as associate royal academician in , the year Fuseli married Sophia Rawlins, but there was a temporary coolness when Fuseli was elected royal academician in over the head of Reynolds's nominee.
In Fuseli became professor of painting at the academy, and his first three Lectures on Painting were published in In he obtained the key position of keeper, virtually head of the academy schools. Parallel with Fuseli's career in the academy, and entirely in harmony with its goal, he threw himself with enthusiasm into every scheme for promoting the revival of history painting, including his illustrations of Homer he collaborated with William Cowper from ; his paintings for John Boydell's Shakespeare Gallery; and above all his own Milton Gallery, 47 canvases on which he worked from to Fuseli's last lectures—which put him in the forefront of those who pioneered art history in England by combining the analytical approach of Johann Joachim Winckelmann whose Reflections he translated in with an even wider background of ideas—were delivered in Caspar was a collector of sixteenth and seventeenth century Swiss art and passed his appreciation of fine art onto his son.
Indeed, Fuseli's father introduced him to the ideas of the art historian Johann Joachim Winckelmann and the German painter Anton Raphael Mengs both of whom shared an enthusiasm for classical antiquity and an unwavering commitment to the values of Neoclassical painting. Fuseli spent many hours making sketches of the drawings in his father's collection, a practice he continued well into his teens.
His father, somewhat surprisingly given his own profession, disapproved of Fuseli's artistic ambitions. Once enrolled, Fuseli studied with the influential literary critics J. Breitinger and J. Bodmer who between them introduced him to the literary works of Milton and Shakespeare. Bodmer was also an early champion of Fuseli's interest in painting. It was while at Caroline College that Fuseli met Johann Kaspar Lavater, the Swiss poet and theologian, with whom he formed a close and lasting friendship.
Fuseli was ordained as a priest in However, he was forced to leave Switzerland soon thereafter for helping Lavater expose a corrupt and vengeful magistrate. He crossed the border into Germany where he fell under the influence of the German Enlightenment, a philosophical movement which dominated European thought during the eighteenth century. The movement promoted the idea of reason to determine legitimate authority and became the precursor of ideas such as freedom and tolerance, and most significantly for Fuseli, the separation of church and state.
His first major translation was J. Winkelmann's Reflections on the Painting and Sculpture of the Greeks , published in The German Neo-classicist was hailed by many as the "prophet and founding hero of modern archaeology" and the father of modern art history. Indeed, the volume was considered one of the first to introduce a systematic basis for the classification of art. Rousseau , published in It seems likely that his exposure to such influential Enlightenment philosophers prompted him to publicly declare himself a non-Christian.
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