Henry Fuseli (1741-1825), self portrait, showing the artists face cupped in hands, black and white chalk on buff paper, 1780s

Study for self-portrait in black and white chalk, shows face of artist.

Given by Capt H. Reitlinger

Historical significance: The drawing has been dated 1780-1790 (Schiff 1973, no. 864, p. 510), thus falling into the period after Fuseli's return to Britain in 1779. It shows the artist at the age of about 40 years in a pose of melancholy and self-questioning, yet also defiance (Schiff 1973, 154). Together with another example in the collection (E.1030-1918), this study is one of the few documented self-portraits by Fuseli (there are various drawings depicting his hands, but only few examples of self-portraits in his work (Schiff nos. 569, 570, 571 (?), 1743; Powell no. 23)). According to his biographer John Knowles, he was well aware of his 'unheroic' appearance being only 5'2" tall (Lindsay 1986, 483). By contrast, he was known for his witty character and unconventional and eccentric behaviour.

E.1028-1918 and E.1030-1918 are exceptional examples of full-face studies that are finished to a high degree of elaboration and detail showing Fuseli in a psychologically intimate context. A comparable self-portrait, although less elaborate, in the National Portrait Gallery (Schiff no. 1743, p.555) shows Fuseli half-length leaning over a book. Furthermore, the drawings are extraordinary in terms of their technical execution, as Fuseli is known to hardly heighten his drawings with white although this was common practice among artists of this period. Also, he preferred pencil and most often pen to working in chalk (Powell 1951, 28). His drawings are mostly executed in an expressive, impatient manner, rather 'rhetorical and declamatory' than 'diligent and persuasive' (Myrone 2001, 27).

The meaning of the inscription 'Wickstead' by an unknown hand remains unclear. According to Powell, the close resemblance to other known self-portraits allows the assumption that the drawing represents indeed Fuseli and not Philip Wickstead, a contemporary of his (Powell 1951, 20). Furthermore, the strokes in the shading undoubtedly identify Fuseli as the executor of this drawing, slanting from upper left to lower right. Fuseli was ambidextrous, but practically always drew left-handed as he was left with a weaker right hand after an illness (Powell 1951).

This intense self-portrait shows Fuseli in his forties. He was a man known for his witty character and for defying convention, and yet he portrays himself in a pose of melancholy and self-questioning. His fists are clenched as if he would like to draw our attention to them as his most important artistic tools.

E.1028-1918