Study for the Prophet Jeremiah (recto); Studies of a Horse Seen from Below and of a Man Seated on a Chair, Probably a Self-Portrait and an Off-Print in Brown Ink of a Nude Female Abdomen and Legs (verso)

Study for the Prophet Jeremiah (recto); Studies of a Horse Seen from Below and of a Man Seated on a Chair, Probably a Self-Portrait and an Off-Print in Brown Ink of a Nude Female Abdomen and Legs (verso)

Henry Fuseli

An item at Metropolitan Museum of Art

Fuseli came from a family of artists but trained as a Zwinglian minister before visiting London in the 1760s and deciding to become a painter. His knowledge of the Old Testament and his admiration for Renaissance masters underscore this dramatic sketch of the prophet Jeremiah, made for an engraved illustration in Francis Willoughby’s Practical Family Bible (1772). Bold strokes of brown ink describe the elderly, enraged prophet who steadies himself on a staff as he raises an earthen vessel above his head. The Book of Jeremiah (19:11) describes the prophet’s dramatic denunciation of idol worshippers: "This is what the Lord Almighty says: I will smash this nation and this city just as this potter’s jar is smashed and cannot be repaired." Fuseli, like Blake, belonged to the first generation of Romantic artists in Britain who sought inspiration in poetry and intensely personal emotional and religious experience. About the time he made this drawing, however, Fuseli met Jean Jacques Rousseau and became disillusioned with traditional theology.

Drawings and Prints

An exhibit at Metropolitan Museum of Art

Study for the Prophet Jeremiah (recto); Studies of a Horse Seen from Below and of a Man Seated on a Chair, Probably a Self-Portrait and an Off-Print in Brown Ink of a Nude Female Abdomen and Legs (verso)Study for the Prophet Jeremiah (recto); Studies of a Horse Seen from Below and of a Man Seated on a Chair, Probably a Self-Portrait and an Off-Print in Brown Ink of a Nude Female Abdomen and Legs (verso)Study for the Prophet Jeremiah (recto); Studies of a Horse Seen from Below and of a Man Seated on a Chair, Probably a Self-Portrait and an Off-Print in Brown Ink of a Nude Female Abdomen and Legs (verso)Study for the Prophet Jeremiah (recto); Studies of a Horse Seen from Below and of a Man Seated on a Chair, Probably a Self-Portrait and an Off-Print in Brown Ink of a Nude Female Abdomen and Legs (verso)Study for the Prophet Jeremiah (recto); Studies of a Horse Seen from Below and of a Man Seated on a Chair, Probably a Self-Portrait and an Off-Print in Brown Ink of a Nude Female Abdomen and Legs (verso)

The Department’s vast collection of works on paper comprises approximately 21,000 drawings, 1.2 million prints, and 12,000 illustrated books created in Europe and the Americas from about 1400 to the present day. Since its foundation in 1916, the Department has been committed to collecting a wide range of works on paper, which includes both pieces that are incredibly rare and lauded for their aesthetic appeal, as well as material that is more popular, functional, and ephemeral. The broad scope of the department’s collecting encourages questions of connoisseurship as well as those pertaining to function and context, and demonstrates the vital role that prints, drawings, and illustrated books have played throughout history.