Word: fuselier
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In London's Architectural Review, British Scholar Geoffrey Grigson sets out to make a case for three such painters, all born in 1741: Henry Fuseli, John Henry Mortimer, and James Barry. "They share," Grigson says, "in the sense of turmoil, of the black and red river, of the black...
¶ Fuseli alternated pornographic drawings (for private circulation among his friends) with surrealistic nightmares of horses invading ladies' bed-curtains and grim, grand-scale illustrations of Greek and Norse myths. To suggest the painter's impact on his time, Grigson quotes two of Fuseli's contemporaries. "His...
¶ Mortimer had one quality Fuseli lacked: crass humor. Along with a doleful Caliban and a tumultuous Hercules Slaying the Hydra, he drew such fantasies as an orchestra of flatulent beasts, which must have seemed capricious and vulgar to all but his best friends. Yet, says Grigson, Fuseli and Mortimer...
William Blake, 16 years the junior of Fuseli, Mortimer and Barry, drew, maintains Grigson, as badly as Barry-and "Little-Lambishly" besides. Blake once showed a drawing to Fuseli with the boast that the Virgin Mary herself had appeared to him and said it was very fine. Defiantly Blake added...
Fuseli thought of himself simply as "Poetical," and he once complained that he had "little hope of Poetical painting finding encouragement in England [because] the People are not prepared for it. Portrait with them is everything." Yet while he lived, the pyramid of Fuseli's fame seemed imperishable.