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. |
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Page xiv
'Turning Readers into Spectators' Luisa Cale. MG MM NT P Catalogue entries according to Milton Gallery. A Catalogue of the First Series of Pictures and Sketches, from the Poetic Works of John Milton. By H. Fuseli (London, n.d.) Monthly ...
'Turning Readers into Spectators' Luisa Cale. MG MM NT P Catalogue entries according to Milton Gallery. A Catalogue of the First Series of Pictures and Sketches, from the Poetic Works of John Milton. By H. Fuseli (London, n.d.) Monthly ...
Page 1
'Turning Readers into Spectators' Luisa Cale. Introduction: 'Turning Readers into Spectators' Paradise Lost ...is a first-rate school in which to study montage and audio-visual relationships. (Sergei Eisenstein, The Film Sense, 1943) I ...
'Turning Readers into Spectators' Luisa Cale. Introduction: 'Turning Readers into Spectators' Paradise Lost ...is a first-rate school in which to study montage and audio-visual relationships. (Sergei Eisenstein, The Film Sense, 1943) I ...
Page 2
... turn the sway V. Of Battel, open when, and when to close VI. The ridges of grim Warr; no thought of flight, VII. None of retreat, no unbecoming deed VIII. That argu'd fear; each on himself reli'd, IX. As onely in his arm the moment lay ...
... turn the sway V. Of Battel, open when, and when to close VI. The ridges of grim Warr; no thought of flight, VII. None of retreat, no unbecoming deed VIII. That argu'd fear; each on himself reli'd, IX. As onely in his arm the moment lay ...
Page 4
'Turning Readers into Spectators' Luisa Cale. syntax 'determined by the musical significance, by the auditory imagination'.9Where the poet read in Milton the 'dissociation of sensibility', the film-maker saw in Paradise Lost a model for ...
'Turning Readers into Spectators' Luisa Cale. syntax 'determined by the musical significance, by the auditory imagination'.9Where the poet read in Milton the 'dissociation of sensibility', the film-maker saw in Paradise Lost a model for ...
Page 5
'Turning Readers into Spectators' Luisa Cale. to the point of turning literature against its own materiality. Consider Bloom's treatment of William Blake: 'Blake, I think, like his master Milton (as Eisenstein hinted) wants his reader to ...
'Turning Readers into Spectators' Luisa Cale. to the point of turning literature against its own materiality. Consider Bloom's treatment of William Blake: 'Blake, I think, like his master Milton (as Eisenstein hinted) wants his reader to ...
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