Gothic nightmares: Fuseli, Blake and the Romantic imagination

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Tate Publishing, Apr 1, 2006 - Art - 224 pages
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The 1770s were marked by the emergence of themes of violence, horror, and the supernatural in art: the birth of the Gothic. In 1782 the unveiling of Henry Fuseli's painting "The Nightmare" was met with a mixture of shock and fascination, and was followed by the cosmic visions of William Blake and the searing grotesque caricatures of James Gilray. While there have been several re-assessments of Gothic literature in recent years, "Gothic Nightmares" is the first serious consideration of these themes in visual art, from the 1770s up through the present.
Among the themes explored are: The Gothic Nightmare, examining Fuseli's famous painting in context; the sublime vision of the Gothic hero; the influence of literature and fantasy on art; visions of the apocalypse; and the obsession with scientific revelation that culminated in the vision of ultimate horror in Mary Shelley's man-made monster, Frankenstein.

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Contents

Foreword
6
Acknowledgements
7
Somewhere between the Sublime and the Ridiculous Christopher Frayling
9
Copyright

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About the author (2006)

Martin Myrone is a curator at Tate Britain, specializing in eighteenth- and nineteenth-century British art.

Christopher Frayling, retiring Chairman of England's Arts Council, Rector of the Royal College of Arts, London, from 1996 to 2009, and one of the world's leading cultural historians, first became interested in Walpole's Selima when researching Rousseau's political ideas in 1960s Cambridge, where his thesis was dedicated to his own twenty-six-year-old goldfish, George.

Marina Warner is a prize-winning novelist, cultural historian, and critic. Her most recent novel is The Leto Bundle. Among her acclaimed non-fiction works are From the Beast to the Blonde and No Go the Bogeyman. She lives in London.

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