
audiobook
by Henry Fuseli
THE LIFE - AND - WRITINGS - OF - HENRY FUSELI, Esq. M.A. R.A.
THE FORMER WRITTEN, AND THE LATTER EDITED BY - JOHN KNOWLES, F.R.S. - CORRESPONDING MEMBER OF THE PHILOSOPHICAL SOCIETY AT ROTTERDAM, - HIS EXECUTOR.
IN THREE VOLUMES. - VOL. II. - LONDON: - HENRY COLBURN AND RICHARD BENTLEY, - NEW BURLINGTON STREET. - MDCCCXXXI.
LONDON: - PRINTED BY SAMUEL BENTLEY, - Dorset Street, Fleet Street.
OF - THE SECOND VOLUME.
INTRODUCTION.
FIRST LECTURE. - ANCIENT ART.
SECOND LECTURE. - ART OF THE MODERNS.
THIRD LECTURE.
FOURTH LECTURE.
In this middle volume, the celebrated painter‑scholar lays out a series of lectures that trace the lineage of artistic technique from antiquity to his own revolutionary practice. He guides the listener through the essentials of ancient art, then shifts to the bold innovations of modern masters, offering vivid comparisons that illuminate how ideas evolve across centuries. By weaving together historical anecdotes with practical advice, he shows how the greats—from Leonardo and Dürer to the lost teachings of Apelles—still speak to today’s studio.
The later lectures turn to the nuts and bolts of making art: the mechanics of invention, the drama of composition and expression, the play of light and shadow in chiaroscuro, and the nuanced use of colour in both fresco and oil. Fuseli also presents a systematic method for mastering human proportions, giving students concrete steps for copying the figure. Listeners will come away with a richer sense of where their own practice fits within a long, storied tradition.
Language
en
Duration
~6 hours (388K characters)
Publisher of text edition
Project Gutenberg
Credits
Produced by Margo Romberg, Karl Eichwalder, and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries.)
Release date
2012-06-01
Rights
Public domain in the USA.

1741–1825
Known for eerie, dreamlike scenes and a taste for the dramatic, this Swiss-born artist became one of the most distinctive imaginations of the Romantic era in Britain. His paintings often draw on Shakespeare, Milton, and classical myth, with "The Nightmare" remaining his best-known work.
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