The Nightmare by Henry Fuseli

The Nightmare c1781

“The Nightmare,” painted in 1781 by Swiss artist Henry Fuseli (1741-1825), is one of the most iconic and unnerving works of the late 18th century, melding themes of the supernatural and psychological unease. This dramatic and haunting piece explores the realm of nightmares and the grotesque. Known for its bold use of contrast, its striking depiction of a woman in a state of deep sleep, and its symbolic elements, “The Nightmare” stands as a testament to Fuseli’s unique approach to Romanticism, blending elements of the gothic with intense emotion and surrealism. Fuseli’s art often questioned the boundaries between reality and dreams, and this piece exemplifies his mastery in portraying the darkness of the human subconscious.

The Nightmare by Henry Fuseli Old Masters Reproductions Decorative Art Print Tapestry

Main Subject and Composition

At the center of the mythological composition lies a woman, draped in a white gown, her head tilted back, her eyes shut, and her mouth slightly agape. She lies sprawled across a bed, her posture one of apparent vulnerability. The positioning of her body, her limp arms, and her slouched form suggest that she is not merely asleep, but entrapped in the grip of a terrible nightmare.

Her face is pale, accentuating the fear or distress she may be experiencing in her dream. The body language of the figure reveals both a sense of helplessness and submission, as though the woman is at the mercy of forces beyond her control. On top of her, partially crouched on her chest, is a grotesque, monstrous figure that resembles a demonic creature. This being, with its exaggerated features and intense expression, conveys a sense of malevolent power.

The creature’s posture, its crouched, almost primal stance, suggests a symbolic representation of a nightmare or night terror, which many during the period believed to be the work of supernatural forces. The sinister character appears to be pressing down on the woman, as if suffocating her, yet it exudes an aura of satisfaction and dominance, as if it derives pleasure from her torment.

In the background of the composition, a darkened, blurred silhouette of a horse’s head looms, eyes wide with a fearful expression. This spectral horse adds an additional layer of psychological intensity to the piece, as if the creature’s vision is skewed and tortured, suggesting the nightmare is shared between both the woman and the horse. Its presence only heightens the viewer’s sense of unease, as it represents the creeping nature of irrational fear, constantly lurking in the shadows of the dreamer’s mind.

Objects and Details

The room surrounding the central figure is rich in dark tones, which evoke a sense of unease and confinement. To the left, a small table holds objects like a candle and an overturned vase, adding to the atmosphere of disarray and disturbance.

The faint illumination from the candle casts dark shadows on the walls, heightening the sense of isolation and the unknown. The dimness of the interior suggests that the nightmare takes place in the dead of night, further emphasizing the vulnerability and helplessness of the woman in her vulnerable state.

The bed itself, draped with a deep red velvet curtain, plays a significant role in amplifying the atmosphere. The deep, rich color of the bedding suggests both luxury and danger, implying that even in a space of comfort, horror can strike. This lavishness, often associated with the opulence of a safe and peaceful domestic life, is sharply contrasted by the horrific apparition that dominates the scene.

The interplay of light and shadow in this piece is significant. Fuseli’s use of chiaroscuro, the technique of using strong contrasts between light and dark, amplifies the drama of the composition. The light falling on the woman’s form illuminates her body in stark contrast to the surrounding darkness, focusing the viewer’s attention on her helpless state while casting her surroundings into an oppressive shadow. This creates a powerful sense of depth and dimensionality, evoking a tension between the reality of her physical form and the nightmare that haunts her.

Mood, Style, and Theme

“The Nightmare” evokes a mood of horror, anxiety, and suffocation. It is a powerful visual representation of the psychological terror associated with nightmares, the kind of fear that seems tangible yet is completely irrational. The artist blends elements of gothic horror with a romanticized exploration of the unknown. In the 18th century, people were particularly fascinated by the supernatural and the unknown realms of the mind, making the depiction of these elements a natural focus for Fuseli’s work.

Fuseli’s approach to painting often emphasized intense emotional experiences, and this piece is no exception. The tension in the scene is palpable, not just through the central figures but in the stark contrast between light and dark.

The theme of suppressed terror is explored through the supernatural, as both the woman and the viewer are drawn into a world that is both unsettling and bizarre. This dark exploration of the human psyche invites questions about the limits of consciousness, the fear of the unseen, and the potential for terror that resides within dreams.

The style of Fuseli’s work was influenced by his exposure to Neoclassicism, but he departed from its rationality and balance by incorporating exaggerated forms and dramatic, fantastical elements. The surreal nature of the creature that straddles the woman’s chest reflects his interest in psychological subjectivity and his rejection of realism in favor of emotional intensity.

Conclusion

Henry Fuseli’s “The Nightmare” is a provocative, chilling exploration of human fear, both real and imagined. The surreal quality of the painting, the disturbing imagery, and the unsettling use of light and shadow all contribute to the timeless power of this piece. Fuseli captured a universal experience, the sensation of being vulnerable and at the mercy of forces beyond understanding, in a way that continues to resonate with viewers today. The painting is a masterclass in both technique and emotional depth, exploring themes of vulnerability, terror, and the haunting nature of dreams.

The Nightmare is a retouched digital art old masters reproduction of a public domain image.

Artist Bio From Wikipedia.org

Fuseli was born in Zürich, Switzerland, the second of 18 children. His father was Johann Caspar Füssli, a painter of portraits and landscapes, and author of Lives of the Helvetic Painters. He intended Henry for the church, and sent him to the Caroline college of Zurich, where he received an excellent classical education. One of his schoolmates there was Johann Kaspar Lavater, with whom he became close friends.

After taking orders in 1761, Fuseli was forced to leave the country as a result of having helped Lavater to expose an unjust magistrate, whose powerful family sought revenge. He travelled through Germany, and then, in 1765, visited England, where he supported himself for some time by miscellaneous writing.

Eventually, he became acquainted with Sir Joshua Reynolds, to whom he showed his drawings. Following Reynolds’ advice, he decided to devote himself entirely to art. In 1770 he made an art-pilgrimage to Italy, where he remained until 1778, changing his name from Füssli to the more Italian-sounding Fuseli.

Early in 1779 he returned to Britain, taking in Zürich on his way. In London he found a commission awaiting him from Alderman Boydell, who was then setting up his Shakespeare Gallery.

Fuseli painted a number of pieces for Boydell, and published an English edition of Lavater’s work on physiognomy. He also gave William Cowper some valuable assistance in preparing a translation of Homer.

In 1788 Fuseli married Sophia Rawlins (originally one of his models), and he soon after became an associate of the Royal Academy. The early feminist Mary Wollstonecraft, whose portrait he had painted, planned a trip with him to Paris, and pursued him determinedly, but after Sophia’s intervention the Fuselis’ door was closed to her forever.

Fuseli later said “I hate clever women. They are only troublesome”. In 1790 he became a full Academician, presenting Thor Battering the Midgard Serpent as his diploma work. In 1799 Fuseli was appointed professor of painting to the Academy. Four years later he was chosen as Keeper, and resigned his professorship, but resumed it in 1810, continuing to hold both offices until his death.[4] As Keeper, he was succeeded by Henry Thomson.

In 1799 Fuseli exhibited a series of paintings from subjects furnished by the works of John Milton, with a view to forming a Milton gallery comparable to Boydell’s Shakespeare gallery.

There were 47 Milton paintings, many of them very large, completed at intervals over nine years. The exhibition proved a commercial failure and closed in 1800. In 1805 he brought out an edition of Pilkington’s Lives of the Painters, which did little for his reputation.

Antonio Canova, when on his visit to England, was much taken with Fuseli’s works, and on returning to Rome in 1817 caused him to be elected a member of the first class in the Academy of St Luke.