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783:" (1839). His narrator compares a painting hanging in Usher's house to a Fuseli work, and reveals that an "irrepressible tremor gradually pervaded my frame; and, at length, there sat upon my heart an incubus of utterly causeless alarm". Poe and Fuseli shared an interest in the subconscious; Fuseli is often quoted as saying, "One of the most unexplored regions of art are dreams".
470:. Fuseli wrote of his fantasies to Lavater in 1779; "Last night I had her in bed with me—tossed my bedclothes hugger-mugger—wound my hot and tight-clasped hands about her—fused her body and soul together with my own—poured into her my spirit, breath and strength. Anyone who touches her now commits adultery and incest! She is mine, and I am hers. And have her I will.…"
715:) which develops on the eroticism of Fuseli's work. Abildgaard's painting shows two naked women asleep in the bed; it is the woman in the foreground who is experiencing the nightmare and the incubus—which is crouched on the woman's stomach, facing her parted legs—has its tail nestling between her exposed breasts.
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suggests that the sleeping woman represents
Landholdt and that the demon is Fuseli himself. Bolstering this claim is an unfinished portrait of a girl on the back of the painting's canvas, which may portray Landholdt. Anthropologist Charles Stewart characterises the sleeping woman as "voluptuous," and
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simultaneously offers both the image of a dream—by indicating the effect of the nightmare on the woman—and a dream image—in symbolically portraying the sleeping vision. It depicts a sleeping woman draped over the end of a bed with her head hanging down, exposing her long neck. She is surmounted by an
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in
November 2020. The EP cover art is a direct reference to The Nightmare, with Katya portraying both the woman and the demon over her body. She even included a horse statue in one corner of the room. It serves as a modern reinterpretation of the painting, with the woman appearing completely nude,
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in
Frankfurt. It is smaller than the original, and the woman's head lies to the left; a mirror opposes her on the right. The demon is looking at the woman rather than out of the picture, and it has pointed, catlike ears. The most significant difference in the remaining two versions is an erotic
925:, a postdoctoral researcher and visual artist, conducts intense research on the pictorial representation of sleep paralysis throughout the history of art (18th – 21st century), analysing and discovering similar prototypes and archetypes of artistic representation, inspired by Fuseli's artwork.
127:, critics and patrons reacted with horrified fascination and the work became widely popular, to the extent that it was parodied in political satire and an engraved version was widely distributed. In response, Fuseli produced at least three other versions.
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Contemporary critics often found the work scandalous due to its sexual themes. A few years earlier Fuseli had fallen for a woman named Anna
Landholdt in ZĂĽrich, while travelling from Rome to London. Landholdt was the niece of his friend, the Swiss
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experienced by Fuseli and his contemporaries, who found that these experiences related to folkloric beliefs like the
Germanic tales about demons and witches that possessed people who slept alone. In these stories, men were visited by horses or
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Fuseli's knowledge of art history was broad, allowing critics to propose sources for the painting's elements in antique, classical, and
Renaissance art. According to art critic Nicholas Powell, the woman's pose may derive from the
191:, giving rise to the terms "hag-riding" and "mare-riding", and women were believed to engage in sex with the devil. The etymology of the word "nightmare", however, does not relate to horses. Rather, the word is derived from
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The etymology of the word "nightmare", however, does not relate to horses. Rather, the word is derived from mara, a
Scandinavian mythological term referring to a spirit sent to torment or suffocate sleepers.
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that peers out at the viewer. The sleeper seems lifeless and, lying on her back, takes a position then believed to encourage nightmares. Her brilliant coloration is set against the darker reds, yellows, and
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The Royal
Academy exhibition brought Fuseli and his painting enduring fame. The exhibition included Shakespeare-themed works by Fuseli, which won him a commission to produce eight paintings for publisher
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but have been ascribed more specific meanings by some theorists. Contemporary critics were taken aback by the overt sexuality of the painting, since interpreted by some scholars as anticipating
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Interpretations vary. The canvas seems to portray simultaneously a dreaming woman and the content of her nightmare. The incubus and horse's head refer to contemporary belief and folklore about
486:(1972), Marcia Allentuck similarly argues that the painting's intent is to show female orgasm. This is supported by Fuseli's sexually overt and even pornographic private drawings (e.g.,
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215:, or a feeling of dread. The painting incorporates a variety of imagery associated with these ideas, depicting a mare's head and a demon crouched atop the woman.
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Fuseli's marriage proposal met with disapproval from
Landholdt's father, and in any case seems to have been unrequited—she married a family friend soon after.
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effect to create strong contrasts between light and shade. The interior is contemporary and fashionable and contains a small table on which rests a mirror,
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is unique among his paintings for its lack of reference to literary or religious themes (Fuseli was an ordained minister). His first known painting is
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on the word "nightmare" and a self-conscious reference to folklore—the horse destabilises the painting's conceit and contributes to its Gothic tone.
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Ward, Maryanne C. (Winter 2000). "A Painting of the
Unspeakable: Henry Fuseli's 'The Nightmare' and the Creation of Mary Shelley's 'Frankenstein'".
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following the success of the first; at least three survive. The other important canvas was painted between 1790 and 1791 and is held at the
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500:, with the sexual act represented by the horse's intrusion through the curtain. Fuseli himself provided no commentary on his painting.
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crouched on her chest. The painting's dreamlike and haunting erotic evocation of infatuation and obsession was a huge popular success.
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It remained well-known decades later, and Fuseli painted other versions on the same theme. Fuseli sold the original for twenty
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in 1782, where it "excited ... an uncommon degree of interest", according to Fuseli's early biographer and friend
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Because of the popularity of the work, Fuseli painted a number of versions, including this c. 1790–91 variation.
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Chappell, Miles L. (June 1986). "Fuseli and the 'Judicious Adoption' of the Antique in the 'Nightmare'".
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as the central exhibit. The catalogue indicated the painting's influence on films such as the original
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Perl, Jed (July–August 2006). "anaTroubled classicism: The hyper personality of Henry Fuseli's work".
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sexual instincts. Related interpretations of the painting view the incubus as a dream symbol of male
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832:(1931); however, neither Freud nor Jones mentioned these paintings in their writings about dreams.
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116:. It shows a woman in deep sleep with her arms thrown below her, and with a demonic and ape-like
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circulated widely beginning in January 1783, earning publisher John Raphael Smith more than 500
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While some observers have viewed the parodies as mocking Fuseli, it is more likely that
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one scholar of the Gothic describes her as lying in a "sexually receptive position." In
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Stewart, Charles (2002). "Erotic Dreams and Nightmares from Antiquity to the Present".
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term referring to a spirit sent to torment or suffocate sleepers. The early meaning of
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reverberated with twentieth-century psychological theorists. In 1926, American writer
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Moffitt, John F. (2002). "A Pictorial Counterpart to 'Gothick' Literature: Fuseli's
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was simply a vehicle for ridicule of the caricatured subject. The Danish painter,
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Abildgaard's painting was owned for a time by the poet, dramatist and painter
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101.6 cm Ă— 127 cm (40.0 in Ă— 50 in)
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was widely plagiarised, and parodies of it were commonly used for political
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Shackelford, Lynne P. (Fall 1986). "Poe's THE FALL OF THE HOUSE OF USHER".
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761:(1818). Shelley would have been familiar with the painting; her parents,
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For contemporary viewers, the relationship of the incubus and the horse (
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included the sleeper's experience of weight on the chest combined with
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sufferers (who often hallucinate creatures sitting on their chest).
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Darwin included these lines and expanded upon them in his long poem
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Eros in the Mind's Eye: Sexuality and the Fantastic in Art and Film
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has also been proposed. Powell links the horse to a woodcut by the
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1682:. London: Hogarth Press and Institute of Psycho-Analysis, 1931.
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1444:"Room 3—Henry Fuseli (Johann Heinrich Füssli): tales told anew"
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Britomart Delivering Amoretta from the Enchantment of Busirane
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Russo, Kathleen (1990). "Henry Fuseli" in James Vinson (ed.),
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Gothic Nightmares: Fuseli, Blake and the Romantic Imagination
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1629:"Martin Rowson on Rishi Sunak's sleaze nightmares – cartoon"
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produced a cartoon, "after Fuseli (and everyone else)", for
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Chard, Leslie. "Joseph Johnson: Father of the Book Trade".
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Gothic: Four Hundred Years of Excess, Horror, Evil and Ruin
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Interpreting the Dreams of the Butler and Baker of Pharaoh
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The Artist's Despair Before the Grandeur of Ancient Ruins
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hung in the home of Fuseli's close friend and publisher
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This article is about the painting. For other uses, see
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The Journal of the Midwest Modern Language Association
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Napoleon Dreaming in His Cell at the Military College
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Whose daring tints, with Shakspeare's happiest grace,
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Gothic Nightmares: Fuseli, Blake and the Imagination
388:(1789), for which Fuseli provided the frontispiece:
893:may be a reference to the painting as it documents
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Seeks some love-wilder'd maid with sleep oppress'd,
364:. The engraving was underscored by a short poem by
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824:chose another version of Fuseli's painting as the
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1298:(1). Midwest Modern Language Association: 20–31.
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722:created another version of the painting in 1846 (
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413:In vain to scream with quivering lips she tries,
402:Her snow-white limbs hang helpless from the bed;
1393:. Oxford: Oxford University Press. p. 87.
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433:And drinks with leathern ears her tender cries.
415:And strains in palsy'd lids her tremulous eyes;
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1140:Journal of the Royal Anthropological Institute
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820:apartment. Psychoanalyst and Freud biographer
218:Sleep and dreams were common subjects for the
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1446:. The Frankfurt Goethe-Museum. Archived from
1208:The Life and Writings of Henry Fuseli, Vol. 1
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856:between 15 February and 1 May 2006, with the
411:Start in her hands, and struggle in her feet;
409:O'er her fair limbs convulsive tremors fleet,
400:Back o'er her pillow sinks her blushing head,
1361:Nineteenth Century European Art, 2nd Edition
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1064:. Edinburgh University Press. pp. 5–8.
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423:The Will presides not in the bower of Sleep.
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1475:Encyclopedia of the Romantic Era, 1760–1850
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1111:International Dictionary of Art and Artists
787:In the twentieth and twenty-first centuries
429:Rolls in their marble orbs his Gorgon-eyes,
404:Her interrupted heart-pulse swims in death.
378:Alights, and grinning sits upon her breast.
372:So on his Nightmare through the evening fog
1901:Paintings in the Detroit Institute of Arts
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1420:Bjorvand and Lindeman (2007), pp. 719–720.
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1511:. New York: Praeger Publishers. p.
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1260:The Botanic Garden: A Poem in Two Parts…
1117:. Detroit: St. James Press; pp. 598–99.
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427:Erect, and balances his bloated shape;
182:. The work was likely inspired by the
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1693:Essay on this painting from the book
425:—On her fair bosom sits the Demon-Ape
1584:Dreams in Myth, Medicine, and Movies
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392:—Such as of late amid the murky sky
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1782:Thor Battering the Midgard Serpent
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1359:Chu, Petra Ten-Doesschate (2006).
1094:. Greenwood Press. pp. 40–42.
394:Was mark'd by Fuseli's poetic eye;
251:Richard III Visited by Ghosts
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1774:The Vision of Catherine of Aragon
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1478:. Taylor & Francis. pp.
1472:Murray, Christopher John (2004).
1390:Word Origins And How We Know Them
1363:. Prentice Hall Art. p. 81.
1325:Davenport-Hines, Richard (1999).
918:except for a pair of sunglasses.
549:Fuseli painted other versions of
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163:of the background; Fuseli used a
1798:Lady Macbeth Seizing the Daggers
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1658:Recent exhibit and publication:
1507:The Life and Art of Henry Fuseli
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1263:. Jones & Company. p.
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692:is the demon, and his mistress
489:Symplegma of Man with Two Women
421:to run, fly, swim, walk, creep;
1588:. Praeger/Greenwood. pp.
1567:10.1080/00144940.1986.11483955
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872:(1976). Among modern artists,
840:and other Fuseli works in his
781:The Fall of the House of Usher
688:. In another example, admiral
617:'s satirical coloured etching
333:The painting is housed at the
233:(1768), and later he produced
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1331:. North Point Press. p.
1062:The History of Gothic Fiction
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16:1781 painting by Henry Fuseli
1246:(1). University of Manitoba.
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619:The Covent Garden Night Mare
337:. It was first shown at the
276:. A source for the woman in
272:, an archaeological site in
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752:in a scene from her famous
724:NivaagaardNivaagaard Museum
507:and its German equivalent,
222:-born Henry Fuseli, though
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1942:
1664:. 15 February–1 May 2006.
852:held an exhibition titled
738:A 19th century version of
718:Yje German-Danish painter
705:Nicolai Abraham Abildgaard
21:Nightmare (disambiguation)
18:
1891:Paintings by Henry Fuseli
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335:Detroit Institute of Arts
201:Scandinavian mythological
92:Detroit Institute of Arts
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1911:Fiction about nightmares
1257:Darwin, Erasmus (1825).
1167:"JOHANN HEINRICH FĂśSSLI"
1090:Palumbo, Donald (1986).
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1926:Oil on canvas paintings
1580:Packer, Sharon (2002).
1185:The Burlington Magazine
1152:10.1111/1467-9655.00109
1060:Ellis, Markman (2000).
730:Influence on literature
385:The Loves of the Plants
339:Royal Academy of London
178:) evoked the notion of
125:Royal Academy of London
1750:The Oath on the GrĂĽtli
1503:Tomory, Peter (1972).
1205:Knowles, John (1831).
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1849:Johann Kaspar FĂĽssli
1843:Johann Caspar FĂĽssli
905:Katya Zamolodchikova
779:in his short story "
322:Thomas Burke's 1783
270:figures at Selinunte
236:The Shepherd's Dream
984:The Dream of Hecuba
880:in his work (e.g.,
843:Man and His Symbols
763:Mary Wollstonecraft
694:Emma, Lady Hamilton
536:Shakespeare Gallery
484:Woman as Sex Object
282:The Dream of Hecuba
239:(1798) inspired by
1921:Paintings of women
1886:Romantic paintings
1790:Titania and Bottom
1165:Ferruccio Busoni.
944:Conservative Party
921:In February 2021,
813:The Anatomy Lesson
807:displayed next to
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1385:Liberman, Anatoly
869:The Marquise of O
682:Charles James Fox
670:Thomas Rowlandson
666:George Cruikshank
651:Nivaagaard Museum
615:Thomas Rowlandson
611:Charles James Fox
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1860:Romanticism
1828:(1778–1780)
1753:(1779–1781)
948:Rishi Sunak
884:(1952–54).
866:(1931) and
816:in Freud's
809:Rembrandt's
797:Max Eastman
690:Lord Nelson
678:Louis XVIII
676:Bonaparte,
609:Politician
241:John Milton
165:chiaroscuro
146:Description
140:unconscious
1875:Categories
1678:Jones, E.
1668:, London.
1640:23 January
1555:Explicator
1270:21 October
1219:21 October
1035:References
1030:(1952–54).
902:drag queen
662:caricature
494:sublimated
314:Exhibition
308:visual pun
180:nightmares
132:nightmares
108:is a 1781
80:Dimensions
1851:(brother)
1742:Paintings
1454:5 October
1020:Web image
998:Web image
976:Web image
942:, with a
858:Nightmare
836:included
834:Carl Jung
793:Nightmare
791:Fuseli's
711:(Danish:
647:Nightmare
631:Nightmare
589:July 2024
521:elf dream
515:literally
505:nightmare
458:'s canvas
354:engraving
324:engraving
205:nightmare
1845:(father)
1817:Drawings
1617:: 80–85.
1521:72077546
1406:29 March
1387:(2005).
1113:vol. 2,
1028:The Room
882:The Room
846:(1964).
713:Mareridt
674:Napoleon
510:Albtraum
263:Vatican
88:Location
1836:Related
1592:, 144.
1312:1315115
1024:Balthus
911:titled
900:Famous
874:Balthus
649:(1846,
634:(1800).
621:(1784).
350:guineas
292:artist
284:at the
265:Ariadne
213:dyspnea
156:incubus
136:Jungian
118:incubus
60: (
1916:Incubi
1809:(1824)
1801:(1812)
1793:(1790)
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1777:(1781)
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562:Legacy
498:libido
362:pounds
274:Sicily
249:, and
229:Joseph
220:ZĂĽrich
161:ochres
70:Medium
45:Artist
1308:JSTOR
962:Notes
664:, by
419:wills
169:phial
1758:Dido
1670:ISBN
1642:2023
1594:ISBN
1517:LCCN
1484:ISBN
1456:2007
1408:2012
1395:ISBN
1365:ISBN
1337:ISBN
1272:2007
1221:2007
1119:ISBN
1066:ISBN
765:and
199:, a
195:mara
189:hags
176:mare
62:1781
58:1781
55:Year
1563:doi
1513:201
1333:235
1300:doi
1265:165
1238:".
1215:–65
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1148:doi
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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