Description
The Swiss painter Henry Fuseli turned Milton's Paradise Lost into a series of 40 pictures that were exhibited in London in 1799 and 1800. Starting from Fuseli's adaptation, Luisa Cal analyzes how visual practices impact on the act of reading and calls into question the separation of reading and viewing as autonomous aesthetic practices. Cal argues that the pictures function as "spectators" of Milton's text, and that the visual elements of the pictures create an immersive experience that alters the way the reader reads the text.
Between 1791 and 1799 Swiss painter Henry Fuseli turned Milton's Paradise Lost into a series of 40 pictures that were exhibited in London in 1799 and 1800. Starting from Fuseli's adaptation, Luisa Cal analyzes how visual practices impact on the act of reading and calls into question the separation of reading and viewing as autonomous aesthetic practices.
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