Artworks · Henry Fuseli

Aided by Eeriboia, Hermes Carries Off the Exhausted Ares from the Sleeping Sons of Aloeus (recto); Sketch of One of the Sleeping Sons of Aloeus (verso)

1819 · Graphite and brush and black wash, with touches of charcoal (recto), and graphite (verso), on cream wove paper

52.3 × 73 cm (20 5/8 × 28 3/4 in.)

Art Institute of Chicago

Sheet of Studies: Three Female Heads, an Arm and a Hand. Verso: Heroic Male Nude and a Face in Profile

1817 · Graphite and chalk on paper. Verso: graphite on paper

support: 229 x 184 mm

Tate

An Intimate Concert

1814 · graphite on laid paper

sheet: 27.94 × 20 cm (11 × 7 7/8 in.)

National Gallery of Art

Dante Swoons before the Soaring Souls of Paolo and Francesca, Virgil at his Side

1813 · Etching and aquatint on ivory wove paper

Plate: 47 × 30.2 cm (18 9/16 × 11 15/16 in.); Sheet: 50 × 33.2 cm (19 11/16 × 13 1/8 in.)

Art Institute of Chicago

Lady Macbeth Seizing the Daggers

1812 · Oil paint on canvas

support: 1016 x 1270 mm frame: 1213 x 1454 x 100 mm

Tate

The Slaying of Red Comyn by Robert the Bruce

1810 · Pen and brown iron gall ink, with brush and brown and gray wash, over chalk (recto), and black chalk (verso), on tan laid paper

31.5 × 20.6 cm (12 7/16 × 8 1/8 in.)

Art Institute of Chicago

Perseus Starting from the Cave of the Gorgons

1810 · Oil and oil wash, over graphite and with touches of pen and black ink, on tan laid paper, laid down on off-white Japanese paper

55.2 × 67.6 cm (21 3/4 × 26 5/8 in.)

Art Institute of Chicago

The Debutante

1807 · Watercolour and graphite on paper

frame: 691 x 558 x 22 mm support: 371 x 243 mm image: 357 x 232 mm

Tate

Mother and Her Family in the Country

1806 · Pen and black ink, and brush and black and gray wash, with watercolor and traces of white gouache, over graphite, on ivory laid paper

45.7 × 31.1 cm (18 × 12 1/4 in.)

Art Institute of Chicago

Ugolino and His Sons Starving to Death in the Tower

1806 · Pen and black ink and brush and black, gray, and red wash, over traces of graphite, on grayish-ivory laid paper

63.9 × 52.2 cm (25 3/16 × 20 9/16 in.)

Art Institute of Chicago

Siegfried about to Deny on Oath that Brunhild Had Been his Paramour. Verso: The Figures Traced Through

1805 · Graphite and watercolour on paper. Verso: graphite on paper

support: 255 x 415 mm

Tate

Study for Inquisition, Illustration to Columbiad

1805 · Oil paint, over touches of graphite, on cream wove paper, laid down on stipple etching, etching, and aquatint in black on cream wove paper

52.9 × 44.6 cm (20 7/8 × 17 9/16 in.)

Art Institute of Chicago

The Rape of Ganymede

1804 · crayon lithograph on wove paper

sheet: 31.1 × 24.4 cm (12 1/4 × 9 5/8 in.)

National Gallery of Art

Heavenly Ganymede, from Specimens of Polyautography

1804 · Lithograph in black on ivory wove paper

Image: 31.5 × 24 cm (12 7/16 × 9 1/2 in.); Sheet: 38.2 × 27.9 cm (15 1/16 × 11 in.)

Art Institute of Chicago

A Woman Sitting by the Window (“Evening Thou Bringest All”), from the first issue of Specimens of Polyautography

1803 · Lithograph in black on cream wove paper, tipped onto mount with aquatint border in gray on cream wove paper

Image/primary support: 23.2 × 31.8 cm (9 3/16 × 12 9/16 in.); Secondary support: 37.2 × 49 cm (14 11/16 × 19 5/16 in.)

Art Institute of Chicago

Evening Thou Bringest All

1803 · Pen lithograph

Sheet: 23.6 x 32.2 cm (9 5/16 x 12 11/16 in.)

Cleveland Museum of Art

A Woman Sitting by the Window

1802 · pen-and-tusche lithograph

sheet: 23.5 x 31.9 cm (9 1/4 x 12 9/16 in.) overall (mat size): 40.6 x 55.9 cm (16 x 22 in.)

National Gallery of Art

Hagen and the Nymphs of the Danube

1802 · Graphite, pen and brown ink, watercolor and gouache on cream wove paper

12 5/16 x 13 1/4 in. (31.2 x 33.6 cm)

The Metropolitan Museum of Art

Prospero, Miranda, Caliban and Ariel

1800 · Oil and oil wash, with pen and black ink, charcoal, and touches of incising, heightened with touches of white chalk, on tan laid paper, laid down on off-white Japanese paper

71.5 × 57.5 cm (28 3/16 × 22 11/16 in.)

Art Institute of Chicago

Hercules Killing the Mares of Diomedes

1800 · Pen and black ink, with brush and black wash, over graphite, on cream laid paper, laid down on ivory laid paper

50.4 × 38.6 cm (19 7/8 × 15 1/4 in.)

Art Institute of Chicago

The Spirit of Knowledge

1798 · Black chalk and brush and gray wash on ivory laid paper

18.2 × 22.3 cm (7 3/16 × 8 13/16 in.)

Art Institute of Chicago

The Night-Hag Visiting Lapland Witches

1796 · Oil on canvas

40 x 49 3/4 in. (101.6 x 126.4 cm)

The Metropolitan Museum of Art

Study of Ignudo in Sistine Chapel, Rome (recto); Paraphrase of the Ignudo Seated to Upper Right of Prophet Jeremiah in Chapel, Rome (verso)

1795 · Pen and brown ink (recto and verso) on ivory laid paper

20 × 15.8 cm (7 7/8 × 6 1/4 in.)

Art Institute of Chicago

Combat of Two Greeks

1795 · Pen and brown ink, over graphite, on cream wove paper

23.8 × 19 cm (9 3/8 × 7 1/2 in.)

Art Institute of Chicago

The Shepherd’s Dream, from ‘Paradise Lost’

1793 · Oil paint on canvas

support: 1543 x 2153 mm frame: 1784 x 2395 x 107 mm

Tate

Milton Dictating to His Daughter

1793 · Oil on canvas

121.2 × 118.7 cm (47 3/4 × 46 3/4 in.); Framed: 142.9 × 130.5 cm (56 1/4 × 51 3/8 in.)

Art Institute of Chicago

Charis Phykomené. Verso: Head of a Woman, Unfinished

1791 · Graphite, chalk and watercolour on paper

support: 280 x 198 mm

Tate

Satan Defying the Powers of Heaven

1790 · graphite, black chalk, and gray wash

sheet: 42.2 × 27.7 cm (16 5/8 × 10 7/8 in.)

National Gallery of Art

Satan Defying the Powers of Heaven

1790 · graphite, black chalk, and brown and gray wash on laid paper

sheet: 42.2 × 27.7 cm (16 5/8 × 10 7/8 in.)

National Gallery of Art

Titania and Bottom

1790 · Oil paint on canvas

support: 2172 x 2756 mm frame: 3167 x 2600 x 155 mm

Tate

An Erotic Fantasy

1790 · Pen and brown ink (recto and verso) on cream laid paper

15 × 9.1 cm (5 15/16 × 3 5/8 in.)

Art Institute of Chicago

Figure Studies (recto and verso)

1790 · Pen and brown ink (recto and verso) on cream laid paper

27.4 × 19 cm (10 13/16 × 7 1/2 in.)

Art Institute of Chicago

Oedipus Cursing His Son Polynices

1786 · oil on canvas

overall: 149.8 x 165.4 cm (59 x 65 1/8 in.) framed: 177.2 x 191.8 x 12.3 cm (69 3/4 x 75 1/2 x 4 13/16 in.)

National Gallery of Art

Self-Portrait and Anatomical Studies. Verso: Two Male Anatomical Studies

1783 · Graphite and ink on paper, Graphite on paper

support: 250 x 370 mm

Tate

Percival Delivering Belisane from the Enchantment of Urma

1783 · Oil paint on canvas

support: 991 x 1257 mm frame: 1248 x 1510 x 108 mm

Tate

Theodore Meets in the Wood the Specter of His Ancestor Guido Cavalcanti, Chasing with Mastiffs His Former Disdainful Mistress

1783 · Charcoal with stumping, and brush and black wash, over graphite, on tan laid paper, laid down on off-white Japanese paper

32 × 66.4 cm (12 5/8 × 26 3/16 in.)

Art Institute of Chicago

Portrait of a Woman (Martha Hess)

1781 · Charcoal and black chalk, with stumping, heightened with white chalk and touches of red-orange pastel, on grayish-tan laid paper

44.2 × 32.5 cm (17 7/16 × 12 13/16 in.)

Art Institute of Chicago

Thetis Mourning the Body of Achilles

1780 · Brush and brown and brownish-red wash, over graphite, on cream laid paper

41 × 55.7 cm (16 3/16 × 21 15/16 in.)

Art Institute of Chicago

Sleeping Woman with a Cupid

1780 · Etching in red-brown on ivory laid paper

Image: 22.5 × 34.5 cm (8 7/8 × 13 5/8 in.); Plate: 27.8 × 38 cm (11 × 15 in.); Sheet: 32.2 × 43.3 cm (12 11/16 × 17 1/16 in.)

Art Institute of Chicago

Sleeping Woman with a Cupid

1780 · etching

Sheet: 22.5 x 34 cm (8 7/8 x 13 3/8 in.)

Cleveland Museum of Art

Sketch for "Oath on the Rütli" (recto), Female Figure (verso)

1779 · Oil on canvas

76 × 67.5 cm (29 15/16 × 26 9/16 in.); Framed: 79.4 × 69.3 cm (31 1/4 × 27 1/4 in.)

Art Institute of Chicago

Oedipus at Colonus, Cursing his Son Polynices

1777 · Pen and brown ink, brush and gray wash, traces of black chalk underdrawing

sheet: 10 3/16 x 13 1/2 in. (25.8 x 34.3 cm)

The Metropolitan Museum of Art

Satan Starts from the Touch of Ithuriel's Spear

1776 · pen and brown ink and brush and gray wash

Sheet: 30.9 x 42.5 cm (12 3/16 x 16 3/4 in.); Secondary Support: 31 x 42.7 cm (12 3/16 x 16 13/16 in.)

Cleveland Museum of Art

The Changeling

1775 · Charcoal and brush and gray wash, heightened with touches of white gouache, over traces of graphite, on ivory laid paper, laid down on white tissue paper

53.1 × 63.6 cm (20 15/16 × 25 1/16 in.)

Art Institute of Chicago

Sketch for 'Dido on the Funeral Pyre' (recto); Erotic Sketch of Man and Woman (verso)

1771 · Oil paint over charcoal (recto), and black chalk (verso), on ivory laid paper

53.9 × 37.2 cm (21 1/4 × 14 11/16 in.)

Art Institute of Chicago

Triumph of Death: Three Skeletons Invading a Bacchanal Orchestrated by a Magician or an Evil Demon

1770 · Graphite, with brush and gray wash, on cream laid paper (left sheet); graphite, pen and black ink, and brush and reddish-gray wash, on ivory laid paper (right sheet), joined and laid down on ivory Japanese paper, edge mounted on cream card

Both sides: 35.7 × 57.2 cm (14 1/16 × 22 9/16 in.); Secondary support: 42 × 36.9 cm (16 9/16 × 14 9/16 in.)

Art Institute of Chicago

Odin in the Underworld

1770 · Brush and gray wash and graphite, with touches of pen and brown ink and red chalk, on cream laid paper

58.6 × 44.4 cm (23 1/8 × 17 1/2 in.)

Art Institute of Chicago

Male Figure with Left Arm Raised Seen from the Back, and Fragment of Old Man

1770 · Brush and brown wash, heightened with white gouache, over graphite, on cream laid paper, laid down on ivory laid paper, laid down on ivory laid paper

57.3 × 46.2 cm (22 9/16 × 18 1/4 in.)

Art Institute of Chicago