The Nightmare

Permalink

For the 2015 film of the same name, see The Nightmare (2015 film).

The Nightmare. Oil on canvas, 101.6 x 127 mm. Detroit Institute of Arts

The Nightmare is a 1781 oil painting by Anglo-Swiss artist Henry Fuseli. It shows a woman in deep sleep with her arms thrown below her, in a room filled with white light, and with a demonic and apelike incubus crouched on her chest.
The painting’s dream like and haunting erotic evocation of infatuation and obsession was a huge popular success. After its first exhibition, at the 1782 Royal Academy of London, 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.
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 nightmares, but have been ascribed more specific meanings by some theorists.[1] Contemporary critics were taken aback by the overt sexuality of the painting, since interpreted by some scholars as anticipating Jungian ideas about the unconscious.

Contents

1 Description
2 Exhibition
3 Interpretation
4 Legacy

4.1 Influence on literature
4.2 In the twentieth and twenty-first centuries

5 References
6 Notes
7 Further reading
8 External links

Description[edit]
The Nightmare 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.[2] 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 incubus that peers out at the viewer. The sleeper seems lifeless, and, lying on her back, takes a position then believed to encourage nightmares.[3] Her brilliant coloration is set against the darker reds, yellows, and ochres of the background; Fuseli used a chiaroscuro 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, phial, and book. The room is hung with red velvet curtains which drape behind the bed. Emerging from a parting in the curtain is the head of a horse with bold, featureless eyes.
For contemporary viewers, The Nightmare invoked the relationship of the incubus and the horse (m