{"title":"Henry Fuseli Prints","description":"\u003cp\u003eFine art prints by Henry Fuseli. Every work in our Henry Fuseli collection is printed to order. All chosen by hand, with free shipping and import duties covered.\u003c\/p\u003e","products":[{"product_id":"henry-fuseli-scene-of-witches-from-the-masque-of-queens-by-ben-jonson-art-print","title":"Henry Fuseli — Scene of Witches, from The Masque of Queens by Ben Jonson | Art Print","description":"\u003cp\u003eOut of a near-black ground, a cloaked figure in grey bends double inside a circle of red dots on the earth, bare legs folded beneath, a small figure with arms flung up at its side. Above, a grinning imp in red clings to a dark bird in flight. At the right a pale young woman in a wide plumed hat and a slipping white bodice leans forward, staring. A sickle and a bone lie on the ground at the circle's edge.\u003c\/p\u003e\u003cp\u003eHenry Fuseli (1741–1825), born Johann Heinrich Füssli in Zurich, was a painter who made his career in London and became Professor of Painting at the Royal Academy. His work turned to the supernatural, the terrifying and the theatrical, drawing on Shakespeare, Milton and Dante. The Nightmare (1781), with its incubus crouched on a sleeping woman, caused a sensation at the Royal Academy and became one of the defining images of Gothic Romanticism; the first version is in the Detroit Institute of Arts.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. Framed prints arrive in a handmade solid-wood frame with low-reflection glazing, ready to hang. 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Behind them a young woman in a pale veil lays a hand on the young man's outstretched arm. At the right a second young woman kneels, head buried in her arms. Dark leaves at the upper left; the rest is deep brown shadow.\u003c\/p\u003e\u003cp\u003eHenry Fuseli (1741–1825), born Johann Heinrich Füssli in Zurich, was a painter who made his career in London and became Professor of Painting at the Royal Academy. His work turned to the supernatural, the terrifying and the theatrical, drawing on Shakespeare, Milton and Dante. The Nightmare (1781), with its incubus crouched on a sleeping woman, caused a sensation at the Royal Academy and became one of the defining images of Gothic Romanticism; the first version is in the Detroit Institute of Arts.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. 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Her red hair streams back from a blue band, and her wide, glassy eyes stare past the viewer. Her gown is pale ochre with a white neckline. At the right, in shadow, a bearded man holding a paper and a young woman with a slipped bodice watch her in alarm, firelight glowing behind them. The scene is from Shakespeare's Macbeth.\u003c\/p\u003e\u003cp\u003eHenry Fuseli (1741–1825), born Johann Heinrich Füssli in Zurich, was a painter who made his career in London and became Professor of Painting at the Royal Academy. His work turned to the supernatural, the terrifying and the theatrical, drawing on Shakespeare, Milton and Dante. 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On her body squats a dark, goblin-like incubus, chin on fist, staring out at the viewer. Through a red curtain at the left a grey horse's head pushes in with blank white eyes. A small round table at the left holds a bottle and a box, and a yellow and pink cloth spills from the bed. The room around them sinks into deep brown-black.\u003c\/p\u003e\u003cp\u003eFuseli showed the canvas at the Royal Academy in London in 1782, where critics met it with horrified fascination, and it became his first commercially successful work. Thomas Burke's engraving of it circulated widely from 1783, and the image was soon borrowed for political caricature, including Rowlandson's The Covent Garden Night Mare of 1784. Fuseli went on to paint further versions, one of them now in the Goethe Museum in Frankfurt.\u003c\/p\u003e\u003cp\u003eThe original: oil on canvas, 1781, Detroit Institute of Arts.\u003c\/p\u003e\u003cp\u003eHenry Fuseli (1741–1825), born Johann Heinrich Füssli in Zurich, was a painter who made his career in London and became Professor of Painting at the Royal Academy. His work turned to the supernatural, the terrifying and the theatrical, drawing on Shakespeare, Milton and Dante. The Nightmare (1781), with its incubus crouched on a sleeping woman, caused a sensation at the Royal Academy and became one of the defining images of Gothic Romanticism; the first version is in the Detroit Institute of Arts.\u003c\/p\u003e\u003cp\u003eEach print is made to our \u003ca href=\"\/pages\/archival-museum-standards\"\u003eArchival Museum Standards\u003c\/a\u003e: a 12-ink giclée, printed to order. Unframed prints are made on Hahnemühle German Etching, a 310gsm matte fine-art paper. 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At the right a winged figure springs upward from the ground, arms high, face turned back in alarm. Below him a man and a woman lie asleep in each other's arms on a grassy bank. A small lion paces in the pale distance between dark rock walls. Pen and brown ink lines are washed in greys, and 'Roma Oct. 76.' is written at the bottom.\u003c\/p\u003e\u003cp\u003eThe original: pen and brown ink and gray wash, 1776, The Cleveland Museum of Art.\u003c\/p\u003e\u003cp\u003eHenry Fuseli (1741–1825), born Johann Heinrich Füssli in Zurich, was a painter who made his career in London and became Professor of Painting at the Royal Academy. His work turned to the supernatural, the terrifying and the theatrical, drawing on Shakespeare, Milton and Dante. 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