Sophia Fuseli, Seated at a Table, c1790-1
Pen and brown ink and watercolour, over graphite, heightened with white opaque watercolour
This portrait is drawn over a list of articles written by Fuseli between May 1788 and November 1790 for the Analytical Review, a monthly magazine published by his close friend Joseph Johnson.
His wife Sophia here personifies two conflicting notions of femininity. While her painted lips, bared teeth, visible nipples and overly complex hairstyle carried traditional connotations of sexual immorality, the sewing basket acted as a sign of virtuous domesticity. The same basket may also allude to the ancient Greek myth of Pandora, who by opening her notorious box unleashed a host of misfortunes onto humankind.
[The Courtauld]
Taken in the Exhibition
Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism
(October 2022 – January 2023)
One of the most original and eccentric artists of the 18th century, the Swiss-born Henry Fuseli (1741–1825) is the subject of a new exhibition at The Courtauld.
Fuseli spent most of his career in London, where he established himself as one of 18th century Europe’s most controversial artists. He deliberately courted notoriety with his most famous painting The Nightmare and other sensationalistic images inspired by a wide range of literature and his own imagination.
Fuseli was praised by some as a creative genius, while others dismissed his works as ‘shockingly mad’. But much admired by his colleagues, he became the Royal Academy’s Professor of Painting and Keeper of its premises at Somerset House, in what is now The Courtauld Gallery, where he and his wife Sophia Rawlins (1762/3–1832) lived from 1805 until his death.
This exhibition focuses on Fuseli’s numerous private drawings of the modern woman. Blending observed realities with elements of fantasy, these studies present one of the finest draughtsmen of the Romantic period at his most original and provocative. Here, the fashionable women of the period appear as powerful figures of dangerous erotic allure, whom the artist regards with a mix of fascination and mistrust. Perhaps as problematic then as now, this visually compelling body of work provides an insight into anxieties about gender, identity, and sexuality at a time of acute social instability, as the effects of the first modern revolutions – in America and in France – swept across Britain and the Continent. Many of those anxieties still speak vividly to us today.
[The Courtauld]
Sophia Fuseli, Seated at a Table, c1790-1
Pen and brown ink and watercolour, over graphite, heightened with white opaque watercolour
This portrait is drawn over a list of articles written by Fuseli between May 1788 and November 1790 for the Analytical Review, a monthly magazine published by his close friend Joseph Johnson.
His wife Sophia here personifies two conflicting notions of femininity. While her painted lips, bared teeth, visible nipples and overly complex hairstyle carried traditional connotations of sexual immorality, the sewing basket acted as a sign of virtuous domesticity. The same basket may also allude to the ancient Greek myth of Pandora, who by opening her notorious box unleashed a host of misfortunes onto humankind.
[The Courtauld]
Taken in the Exhibition
Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism
(October 2022 – January 2023)
One of the most original and eccentric artists of the 18th century, the Swiss-born Henry Fuseli (1741–1825) is the subject of a new exhibition at The Courtauld.
Fuseli spent most of his career in London, where he established himself as one of 18th century Europe’s most controversial artists. He deliberately courted notoriety with his most famous painting The Nightmare and other sensationalistic images inspired by a wide range of literature and his own imagination.
Fuseli was praised by some as a creative genius, while others dismissed his works as ‘shockingly mad’. But much admired by his colleagues, he became the Royal Academy’s Professor of Painting and Keeper of its premises at Somerset House, in what is now The Courtauld Gallery, where he and his wife Sophia Rawlins (1762/3–1832) lived from 1805 until his death.
This exhibition focuses on Fuseli’s numerous private drawings of the modern woman. Blending observed realities with elements of fantasy, these studies present one of the finest draughtsmen of the Romantic period at his most original and provocative. Here, the fashionable women of the period appear as powerful figures of dangerous erotic allure, whom the artist regards with a mix of fascination and mistrust. Perhaps as problematic then as now, this visually compelling body of work provides an insight into anxieties about gender, identity, and sexuality at a time of acute social instability, as the effects of the first modern revolutions – in America and in France – swept across Britain and the Continent. Many of those anxieties still speak vividly to us today.
[The Courtauld]