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Artworks
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)
Henry Fuseli
Graphite and brush and black wash, with touches of charcoal (recto), and graphite (verso), on cream wove paper · 1819
Art Institute of Chicago
Sheet of Studies: Three Female Heads, an Arm and a Hand. Verso: Heroic Male Nude and a Face in Profile
Henry Fuseli
Graphite and chalk on paper. Verso: graphite on paper · 1817
Tate
An Intimate Concert
Henry Fuseli
graphite on laid paper · 1814
National Gallery of Art
Dante Swoons before the Soaring Souls of Paolo and Francesca, Virgil at his Side
Henry Fuseli
Etching and aquatint on ivory wove paper · 1813
Art Institute of Chicago
Lady Macbeth Seizing the Daggers
Henry Fuseli
Oil paint on canvas · 1812
Tate
The Slaying of Red Comyn by Robert the Bruce
Henry Fuseli
Pen and brown iron gall ink, with brush and brown and gray wash, over chalk (recto), and black chalk (verso), on tan laid paper · 1810
Art Institute of Chicago
Perseus Starting from the Cave of the Gorgons
Henry Fuseli
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 · 1810
Art Institute of Chicago
The Debutante
Henry Fuseli
Watercolour and graphite on paper · 1807
Tate
Mother and Her Family in the Country
Henry Fuseli
Pen and black ink, and brush and black and gray wash, with watercolor and traces of white gouache, over graphite, on ivory laid paper · 1806
Art Institute of Chicago
Ugolino and His Sons Starving to Death in the Tower
Henry Fuseli
Pen and black ink and brush and black, gray, and red wash, over traces of graphite, on grayish-ivory laid paper · 1806
Art Institute of Chicago
Siegfried about to Deny on Oath that Brunhild Had Been his Paramour. Verso: The Figures Traced Through
Henry Fuseli
Graphite and watercolour on paper. Verso: graphite on paper · 1805
Tate
Study for Inquisition, Illustration to Columbiad
Henry Fuseli
Oil paint, over touches of graphite, on cream wove paper, laid down on stipple etching, etching, and aquatint in black on cream wove paper · 1805
Art Institute of Chicago
The Rape of Ganymede
Henry Fuseli
crayon lithograph on wove paper · 1804
National Gallery of Art
Heavenly Ganymede, from Specimens of Polyautography
Henry Fuseli
Lithograph in black on ivory wove paper · 1804
Art Institute of Chicago
A Woman Sitting by the Window (“Evening Thou Bringest All”), from the first issue of Specimens of Polyautography
Henry Fuseli
Lithograph in black on cream wove paper, tipped onto mount with aquatint border in gray on cream wove paper · 1803
Art Institute of Chicago
Evening Thou Bringest All
Henry Fuseli
Pen lithograph · 1803
Cleveland Museum of Art
A Woman Sitting by the Window
Henry Fuseli
pen-and-tusche lithograph · 1802
National Gallery of Art
Hagen and the Nymphs of the Danube
Henry Fuseli
Graphite, pen and brown ink, watercolor and gouache on cream wove paper · 1802
The Metropolitan Museum of Art
Prospero, Miranda, Caliban and Ariel
Henry Fuseli
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 · 1800
Art Institute of Chicago
Hercules Killing the Mares of Diomedes
Henry Fuseli
Pen and black ink, with brush and black wash, over graphite, on cream laid paper, laid down on ivory laid paper · 1800
Art Institute of Chicago
The Spirit of Knowledge
Henry Fuseli
Black chalk and brush and gray wash on ivory laid paper · 1798
Art Institute of Chicago
The Night-Hag Visiting Lapland Witches
Henry Fuseli
Oil on canvas · 1796
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)
Henry Fuseli
Pen and brown ink (recto and verso) on ivory laid paper · 1795
Art Institute of Chicago
Combat of Two Greeks
Henry Fuseli
Pen and brown ink, over graphite, on cream wove paper · 1795
Art Institute of Chicago