Marcus Chen
The Nightmare, painted by Henry Fuseli in 1781, is a work of art that continues to capture the attention of viewers even today. The painting, which features a woman undergoing a nightmare with a demonic incubus crouching on her chest and a hidden horse peering from behind the curtains, shocked and fascinated critics when it was first exhibited at the Royal Academy in London in 1782. Fuseli's unique style, blending classical motifs with literary and theatrical influences, along with the painting's erotic and haunting themes, made it a breakthrough success and a landmark in the Romantic movement. The enduring popularity of The Nightmare has led to multiple versions and parodies, solidifying its place as an iconic image in popular culture.
| Characteristics | Values |
|---|---|
| Artist | Henry Fuseli |
| Year | 1781 |
| Medium | Oil on canvas |
| Dimensions | 180 x 250 cm |
| Current location | Detroit Institute of Arts, Detroit, MI, USA |
| Subject | A woman undergoing a nightmare as an incubus crouches on her chest and a demonic horse looks on |
| Inspiration | Folkloric beliefs, waking dreams experienced by Fuseli and his contemporaries, unrequited love for Anna Landholdt |
| Style | Gothic, Romantic |
| Interpretations | Psychoanalytic theories, female orgasm, male libido, sexual revenge, powerlessness of women |
| Influence | Widely distributed, parodied in political satire, influenced 18th-century Gothic fiction authors such as Mary Shelley |
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What You'll Learn
The painting's initial exhibition at the Royal Academy in London in 1782
The Nightmare, a painting by Swiss-English artist Henry Fuseli, was first exhibited at the annual Royal Academy exhibition in London in 1782. The painting, completed in 1781, depicts a woman undergoing a nightmare as an almost hidden horse (the "night-mare") looks on and a demonic, ape-like incubus crouches on her chest. The erotic and haunting evocation of obsession in the painting shocked, titillated, and frightened exhibition visitors and critics. The painting's overt sexuality and morbidity fascinated critics, and it became Fuseli's first commercially successful work.
The Nightmare stood out from other paintings at the Royal Academy exhibition due to its lack of moralizing subject matter and its unique exploration of the unconscious mind. Unlike popular paintings of the time, which often drew inspiration from history, literature, or religion, Fuseli's work was a product of his imagination. The painting's literary character and artistic references to art history, such as the pose of the woman, demonstrated Fuseli's classical education and broad knowledge of art. The single light source, curtains, tassels, and shortened foreground added to the theatricality of the work.
The exhibition brought Fuseli and his painting enduring fame. The Royal Academy exhibition included Shakespeare-themed works by Fuseli, which won him a commission to create eight paintings for publisher John Boydell's Shakespeare Gallery. The attention The Nightmare received at the Royal Academy helped distribute the image to a wider audience, and Fuseli produced at least three other versions of the painting. The success of The Nightmare also led to its widespread reproduction and distribution through engravings, parodies in political satire, and inspiration for 18th-century Gothic fiction authors such as Mary Shelley.
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The artist, Henry Fuseli, and his influences
The artist behind 'The Nightmare', Henry Fuseli, was a Swiss-born artist known for his dramatic, original, and sensual works. He was born in Zurich, Switzerland, in 1741 and died in London, England, in 1825. Fuseli's father was a painter and author, and he initially studied theology in Zurich, intending to become a minister. However, due to political entanglements, he was forced to leave the country and eventually settled in London in 1764. In London, he met Sir Joshua Reynolds, who encouraged him to pursue art. Following Reynolds' advice, Fuseli travelled to Italy in 1770 and studied there until 1778. During his time in Rome, he studied the works of Michelangelo and classical art, which became his major stylistic influences.
Fuseli's paintings are known for their literary and theatrical subjects, often depicting nude figures caught in strained and violent poses suggestive of intense emotion. He had a particular interest in illustrating Shakespeare and Milton and contributed several works to John Boydell's Shakespeare Gallery. Fuseli's art has a consistent sense of literary drama that reveals his classical education. He was also influenced by contemporary scientific theories about the physical causes of nightmares, such as sleeping with the head lower than the feet.
Fuseli's personal life and experiences also influenced his art. He had a close friendship with Johann Kaspar Lavater, a Swiss physiognomist. Fuseli fell in love with Lavater's niece, Anna Landholdt, but his marriage proposal was met with disapproval, and she married someone else soon after. It is believed that 'The Nightmare' may be a personal portrayal of the erotic aspects of his lost love, with the sleeping woman representing Landholdt and the demon representing himself. Fuseli's sexually explicit private drawings and writings also support this interpretation.
In addition to his paintings, Fuseli also supervised the first English edition of Lavater's work on physiognomy and contributed to William Cowper's translation of Homer. He became an associate of the Royal Academy in 1788 and a full academician two years later. He served as Professor of Painting at the Royal Academy Schools and was also Keeper of the Schools until his death in 1825. Fuseli's influence extended to other artists as well; he was a friend of William Blake and influenced Blake's style, and he also oversaw the education of several students at the RA Schools.
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The painting's subject matter and its interpretation
The Nightmare, painted by Henry Fuseli in 1781, is a complex piece of art that evokes a sense of fear, helplessness, and irrationality. The painting depicts a woman in a deep sleep, with her arms thrown below her, as she undergoes a nightmare. The subject matter of the painting is the nightmare itself and the elements that contribute to it.
The central element of the painting is the woman, who is depicted in a vulnerable and defenseless state. Her eyes are closed, indicating that she is asleep, and her arms are dangling off the bed in an unnatural and uncomfortable manner. The woman's gown, which is white, traditionally symbolizes chastity and virginity. This representation can be interpreted as a depiction of sexuality and even rape, as the woman is dominated by the animals in the painting. The woman's helplessness is conveyed through her gown, the presence of the apelike figure, and her unnatural bodily position, all of which transmit a sense of fear and suffering.
The incubus, or the demon-like creature crouching on the woman's chest, is a significant element of the painting. This creature is often interpreted as a male form of demon, known as an "incubus," which was believed to lie upon women and engage in sexual activities with them while they slept. The incubus can be seen as a symbol of male libido, with the horse's intrusion through the curtain representing the sexual act. The demon-like creature's wide-open eyes and smirk contrast with the sleeping woman, further emphasizing the sense of menace and exploitation.
Another important aspect of the painting is the horse, which represents the "night-mare." In contemporary folklore, horses were often associated with nocturnal visitations and were believed to be ridden by witches or hags, giving rise to terms like "hag-riding" and "mare-riding." The horse in the painting may symbolize the terrifying and oppressive nature of nightmares, adding to the dark and morbid undertones of the work.
The painting's subject matter and interpretation are deeply intertwined with the concept of dreams, the unconscious mind, and the darker realms of human psychology. The Nightmare is believed to be inspired by the waking dreams experienced by Fuseli and his contemporaries, which related to folkloric beliefs and tales of demons, witches, and supernatural possession. The painting's erotic and haunting themes became a breakthrough for Fuseli, as critics were intrigued by its explicit sexuality and anticipation of psychoanalytic theories.
Overall, The Nightmare by Henry Fuseli is a thought-provoking and disturbing work of art that continues to capture the imagination of viewers with its complex exploration of fear, sexuality, and the unconscious through its unique combination of elements.
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The impact of the painting on popular culture
The Nightmare, created in 1781 by Swiss-born artist Henry Fuseli, is a painting that has had a significant impact on popular culture. It is considered a breakthrough success for Fuseli and is often regarded as his most famous work. The painting's bold, horrifying, and sublime elements captured the public imagination, and it became widely known and influential.
One of the most notable impacts of The Nightmare on popular culture is its influence on other artists and writers. The painting's composition and atmosphere have been referenced and reproduced in numerous works of art. For example, Thomas Burke created a stipple engraving in 1783 that directly reproduced Fuseli's painting, and Thomas Rowlandson's "Study for The Covent Garden Night Mare" (1784) is also based on Fuseli's piece. The painting's influence can also be seen in James Gillray's "Duke William's Ghost" (1799), which features a figure in the same position as the woman in The Nightmare. These works demonstrate the strong impact The Nightmare had on other artists, who were inspired by its composition and subject matter.
The Nightmare also had a significant impact on literature and writing. It is considered a landmark in the development of the Romantic movement and has been described as an icon to Romantic and Gothic poets, writers, and painters. The painting's exploration of darker themes, such as the supernatural, the subconscious, and emotion, resonated with writers of the time and influenced their work. The Nightmare is also believed to have informed and inspired countless authors, including 18th-century Gothic fiction writers such as Mary Shelley.
Additionally, The Nightmare has become an iconic image in popular culture, often being parodied and referenced in various forms of media. The painting's unique and striking composition, with its bold contrast of light and dark and its unsettling subject matter, has made it a recognisable and influential image. It has been reproduced and reinterpreted in various forms, reflecting its enduring impact on popular culture.
The painting's exploration of sexual themes and the unconscious mind has also been particularly influential. The woman's pose and the presence of the incubus, a male sexual demon, have been interpreted as a portrayal of female orgasm and the sexual act. These themes, along with the suggestion of domestic violence and sexual assault, have sparked discussions and inspired explorations of similar themes in literature and art. Sigmund Freud, for example, allegedly kept a reproduction of the painting, suggesting its influence on his theories regarding dreams and the unconscious.
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The various versions of the painting
The various versions of Henry Fuseli's painting, "The Nightmare", include:
The original version (1781)
This version of the painting was completed in 1781 and first exhibited at the Royal Academy of Arts in London in 1782, where it shocked and fascinated critics and exhibition visitors alike. The painting depicts a woman with her arms thrown below her, deep in sleep, as she undergoes a nightmare. An incubus, a demonic and ape-like creature, crouches on her chest, while a horse (the "night-mare") looks on from behind the curtains. The original version of "The Nightmare" is likely housed at the Detroit Institute of Arts in Detroit, Michigan, USA.
The Goethe Museum version (1790-1791)
This version of "The Nightmare" is considered the most important after the original. It is currently on display at the Goethe Museum in Frankfurt. This version differs from the original in several ways. Firstly, it is smaller in size. Secondly, the woman's head is turned to the left, and a mirror opposes her on the right. The demon's gaze is directed at the woman rather than outwards, and its ears are pointed and cat-like. Additionally, an erotic statuette of a couple is featured on the table in this version.
The Thomas Burke engraved version (1783)
Thomas Burke engraved this version of "The Nightmare" in January 1783, and it was distributed by the publisher John Raphael Smith. The relatively low price of this reproduction helped to spread the image to a wider audience.
The John Boydell Shakespeare Gallery versions
Fuseli's exhibition at the Royal Academy included Shakespeare-themed works, which won him a commission to produce eight paintings for John Boydell's Shakespeare Gallery. It is unknown how many of these eight paintings were versions of "The Nightmare".
The Joseph Johnson version
One version of "The Nightmare" hung in the home of Fuseli's close friend and publisher, Joseph Johnson. This version was likely one of the three surviving paintings mentioned in the previous section.
Other surviving versions
In addition to the Goethe Museum version, at least two other surviving versions of "The Nightmare" are known to exist.
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