Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
The Italian Count - Henry Fuseli
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
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Description
A dramatic history painting by Henry Fuseli, depicting the brooding Ezzelin Bracciaferro in a scene of psychological tension and dark narrative.
Henry Fuseli, a figure of the late eighteenth-century art world, produced this work in 1780. It depicts Ezzelin Bracciaferro, known as Iron Arm, in a moment of grim reflection. The narrative concerns the destruction of Meduna, an act of vengeance carried out by Ezzelin upon his return from the Holy Land, following his discovery of his wife's perceived disloyalty.
Fuseli employs a stark, theatrical lighting scheme to heighten the psychological tension of the scene. The Count sits in a darkened chamber, his posture conveying a heavy, brooding state of mind. His hand rests against his forehead, a gesture of internal conflict or cold calculation. Before him, the figure of his wife lies prone on the floor, her form illuminated against the shadows of the room. The composition is tightly focused, drawing the viewer into the claustrophobic atmosphere of the narrative.
Elements such as the sword leaning against the wall and the open book on the table provide specific details that ground the scene in a historical, albeit highly dramatised, context. Fuseli was known for his interest in literary and historical subjects, often choosing themes that allowed for the exploration of extreme human emotion and moral ambiguity. His approach to the human form, characterised by elongated proportions and expressive musculature, is evident here. The painting reflects the broader interest in the macabre and the dramatic that defined much of his output during his time in London. By focusing on the aftermath of the violent act, Fuseli invites the viewer to consider the weight of the Count's decision. The work remains a clear example of his ability to translate complex literary narratives into singular, evocative visual compositions.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Complete The Look
The Italian Count - Henry Fuseli
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Henry Fuseli
Fuseli reportedly ate raw pork chops before bed to induce nightmares for painting inspiration. The story may be apocryphal, but The Nightmare (1781), which shows a woman draped unconscious over a bed with an incubus squatting on her chest and a horse's head emerging from the darkness, suggests the method, if it existed, worked.
He was born Johann Heinrich Fussli in Zurich in 1741, the second of eighteen children. He was ordained as a minister in 1761 but forced to leave Switzerland after helping expose a corrupt magistrate. He spent eight years in Rome, changed his name from Fussli to the Italianate Fuseli, and arrived in London with a taste for the violent, the erotic, and the supernatural.
William Blake, not easily impressed, said of him: the only man that e'er I knew who did not make me almost spew. This was a compliment. Blake meant Fuseli was the only person who did not disgust him. Their friendship lasted decades. Fuseli married his model Sophia Rawlins in 1788. He became Keeper of the Royal Academy and grew increasingly conservative in his politics despite having started as a radical. He died in 1825, aged eighty-four, and was buried in St Paul's Cathedral.
He was born Johann Heinrich Fussli in Zurich in 1741, the second of eighteen children. He was ordained as a minister in 1761 but forced to leave Switzerland after helping expose a corrupt magistrate. He spent eight years in Rome, changed his name from Fussli to the Italianate Fuseli, and arrived in London with a taste for the violent, the erotic, and the supernatural.
William Blake, not easily impressed, said of him: the only man that e'er I knew who did not make me almost spew. This was a compliment. Blake meant Fuseli was the only person who did not disgust him. Their friendship lasted decades. Fuseli married his model Sophia Rawlins in 1788. He became Keeper of the Royal Academy and grew increasingly conservative in his politics despite having started as a radical. He died in 1825, aged eighty-four, and was buried in St Paul's Cathedral.
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Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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