Fuseli's Milton Gallery: 'Turning Readers into Spectators'Clarendon Press, 2006 M12 21 - 292 pages Fuseli's Milton Gallery challenges the antipictorial theories and canons of Romantic period culture. Between 1791 and 1799 Swiss painter Henry Fuseli turned Milton's Paradise Lost into a series of 40 pictures. Fuseli's project and other literary galleries developed within an expanding market for illustrated books and a culture of anthologization used to reading British and other 'classics' in terms of the visualization of key moments in the text. Thus transformed into repositories of virtual pictures literary texts became ideal sources of subjects for painters. Illustrating British literature was a way of inventing a national 'grand style' to fit the needs of a consumer society. Cale calls into question the separation of reading and viewing as autonomous aesthetic practices. To 'turn readers into spectators' meant to place readers and reading within the dizzying world of associations offered by an emerging culture of exhibitions. Attending to the energized reading effects developed by Fuseli's Gallery we rediscover a new side of the Romantic imagination which is not the solitary mentalist experience preferred by Wordsworth and Coleridge, nor divorced from the senses, let alone a refuge from the crowded public spaces of the Revolutionary period. Rather, Fuseli's embodied aesthetic exemplifies the associationist psychology espoused by the radical circle convening around the publisher Joseph Johnson, including Joseph Priestley and Mary Wollstonecraft. This book analyses exhibitions as important sites of Romantic sociability and one of many interrelated mediums for the literature, debates and controversies of the Revolutionary period. |
From inside the book
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Page ix
... Poets Fuseli's Catalogue: Excerpting and Abridging Milton Fuseli's Milton: Epic and Painting Poems on the Galleries: The Reader Turned Spectator Turned Author 58 59 64 70 78 96 99 105 105 112 3. The Reader Turned Spectator: Visual ...
... Poets Fuseli's Catalogue: Excerpting and Abridging Milton Fuseli's Milton: Epic and Painting Poems on the Galleries: The Reader Turned Spectator Turned Author 58 59 64 70 78 96 99 105 105 112 3. The Reader Turned Spectator: Visual ...
Page 2
... poem would function as a film montage: Second transcription: 1. led in fight, yet Leader seemed each Warrior single as in Chief, 2. expert when to advance, 3. or stand, 4. or turn the sway of Battel, 5. open when, 6. and when to close ...
... poem would function as a film montage: Second transcription: 1. led in fight, yet Leader seemed each Warrior single as in Chief, 2. expert when to advance, 3. or stand, 4. or turn the sway of Battel, 5. open when, 6. and when to close ...
Page 3
... poet's words into tableaux, the non-coincidence of sense and meter can be translated into a non-coincidence of shots ... Poetry and Introduction 3.
... poet's words into tableaux, the non-coincidence of sense and meter can be translated into a non-coincidence of shots ... Poetry and Introduction 3.
Page 4
... Poetry and Poets (London, 1957), 142–3. 10 Eisenstein, The Film Sense, 51–9. 11 H. Bloom, 'The Visionary Cinema of Romantic Poetry', in A. H. Rosenfeld (ed.), William Blake: Essays for S. Foster Damon (Providence, RI, 1969), 21. 12 Ibid ...
... Poetry and Poets (London, 1957), 142–3. 10 Eisenstein, The Film Sense, 51–9. 11 H. Bloom, 'The Visionary Cinema of Romantic Poetry', in A. H. Rosenfeld (ed.), William Blake: Essays for S. Foster Damon (Providence, RI, 1969), 21. 12 Ibid ...
Page 6
... Poets in 1788, and Robert Bowyer launched the Historic Gallery after David Hume's History of England in 1792.17 The ... Poet's Gallery: Consuming the Sister Arts in Late Eighteenth-Century London', Ph.D. thesis (London, 2003); on Bowyer ...
... Poets in 1788, and Robert Bowyer launched the Historic Gallery after David Hume's History of England in 1792.17 The ... Poet's Gallery: Consuming the Sister Arts in Late Eighteenth-Century London', Ph.D. thesis (London, 2003); on Bowyer ...
Contents
1 | |
16 | |
Printed Text at the Galleries | 58 |
Visual Narratives | 105 |
Miltons Allegory and the Politics of Seeing | 142 |
5 The Plot of Adam and Eve | 184 |
Conclusion | 215 |
List of Pictures in the Milton Gallery The Times 28 May 1799 | 221 |
Bibliography | 225 |
Index | 249 |
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Fuseli's Milton Gallery:'Turning Readers into Spectators': 'Turning Readers ... Luisa Cale No preview available - 2006 |
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action active Adam and Eve aesthetic allegory angels argued Artists beauty become body Boydell Boydell’s British called Cambridge canvas catalogue Chapter claim Coleridge collection compared continuous contrast Criticism culture Death defined edition effect eighteenth-century English engraved entries Essays exhibition experience female field figure Fuseli Fuseli’s hand Henry Fuseli History human idea identify illustrated images imagination Italy John Johnson Joseph late Lessing lines literary galleries literature London Macklin’s matter means Milton Gallery mind montage movement moving narrative nature offered opened Oxford painters painting Paradise Lost plot poem poetry Poets political position practices present prints produced published readers reading represented Reynolds Royal Academy Satan scene sense sequence Shakespeare Shakspeare Gallery shape space spectators story sublime suggests takes turn University Press viewers viewing vision visual vols Wollstonecraft writing