1972
DOI: 10.2307/3049051
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Hogarth: His Life, Art and Times

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Cited by 29 publications
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“…Austin records this as a composite gesture of both aversion and accusation, and its use by Fuseli suggests that he is representing Lady Macbeth's aversion to the killing of Duncan which she has effected, and an accusation directed at Macbeth for the subsequent murders he has undertaken to secure the throne (Austin 1806, illustrations 100 and 101). Her pose is not dissimilar to that found in the gladiator drawing with which Fuseli's earlier study of the sleepwalking scene has been associated (Tomory 1972, 79 and plate 29). The dislocation experienced by the viewer is partly caused by the figure thrust forward, its slipper missing, its flowing hair, and wild costume, but the dislocation may also be the result of what Marguerite Tassi has identified as the transfer of the heroic; the heroic character is here is the deranged Lady Macbeth, not a tragic male lead (Tassi 2011, 64).…”
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“…Austin records this as a composite gesture of both aversion and accusation, and its use by Fuseli suggests that he is representing Lady Macbeth's aversion to the killing of Duncan which she has effected, and an accusation directed at Macbeth for the subsequent murders he has undertaken to secure the throne (Austin 1806, illustrations 100 and 101). Her pose is not dissimilar to that found in the gladiator drawing with which Fuseli's earlier study of the sleepwalking scene has been associated (Tomory 1972, 79 and plate 29). The dislocation experienced by the viewer is partly caused by the figure thrust forward, its slipper missing, its flowing hair, and wild costume, but the dislocation may also be the result of what Marguerite Tassi has identified as the transfer of the heroic; the heroic character is here is the deranged Lady Macbeth, not a tragic male lead (Tassi 2011, 64).…”
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confidence: 58%
“…His literary ambitions had introduced him to the plays on the page, and when he first arrived in London, it was the performances influenced by David Garrick that were on offer. Fuseli was a devotee of the theater—Weinglass recounts that in “later life he often dismissed his classes at the Royal Academy early in order to indulge his passion for the playhouse”—and Shakespeare was, of course, a constant in the repertory (Weinglass 2004, 21: 209 and Tomory 1972, 71). In seeking to describe the effect on Fuseli of seeing Garrick playing Shakespeare, Tomory claims that it was similar to Jacques Louis David's response in seeing Naples for the first time: the result was akin to seeing the world after “an operation for a cataract” (Tomory 1972, 15) 15…”
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