Romantic Era Blog

This painting was the first of its kind in the center of the Age of Reason. The Age of Reason was a phase during the Romantic period that focused more on math and science, rather than emotion or religious faith. [Fuseli] “he was intent on exploring the dark recesses of human psychology when most were concerned with scientific exploration of the objective world.” (Seiferle). Although Romanticism and the Age of Reason were at slight odds, Fuseli’s ability to blend aspects of romantic artwork with his message is astonishing. His combinations of romantic beauty, imagination and mystery combined with his form of gothic horror is one of the things I love most about this painting.

When first glancing at this piece of work, your eyes may focus on the woman lying asleep, and then your eyes wander to see the ghastly hairy incubus sitting on her chest, and then you may focus on the two bright white eyes of a black mare in the corner. What this picture is trying to depict and convey to the audience is that these creatures are projections of a horrific nightmare by the main object (the woman) is having, and “even though the woman is bathed in a bright light, Fuseli’s composition suggests that light is unable to penetrate the darker realms of the human mind.” (Seiferle). An interesting thing to note: the horse was not in the original painting but was added later.

I think my favorite aspect of this painting is the use of portrayal of light on her body. It’s normal to be scared of the dark and what unknown, but what this painting shows to me is that not even light can shield you from your own nightmares.
Another thing that really stuck out to me with this painting is it’s combination of nightmare and gothic horror.

This oil painting is overwhelming to look at. In every direction you see a different kind of horror or tragedy. This is exactly what made this so controversial during it’s time. “The artist’s fascination with violence caused that his piece was not on public display again until many years after its first exhibition.” (Stanska). This work is depicting an Assyrian ruler presiding over the horrific murder of his people and destruction of his palace.

One fascination during the Romantic era was of course, untamed desires. This led these Romantic artists to give interest to North African and Eastern countries which they believed to run wild with such “untamed desires”. As you can see with the story of Sardanapalus, with it’s setting being ancient Nineveh (McCoy).

What I have learned and appreciated from previous art work I have analyzed is the portrayal of light through color shines down on what the artist wants to be the main center piece, and what will first draw ones attention. What I think is interesting about this painting, is the main focus is the horror itself. It is not sugar coated like the last painting with a beautiful woman laying down with the horrors being covered by shadow, but instead it is right out in the open. Figures of opulence and the working class are melded together, naked women being aggressively handled by men, with another dead woman on the bed and gold chains and medallions lying on the floor show this painting to be chaotic and uncomfortable.

Works Cited

McCoy, Claire. “Romanticism in France.” Khan Academy, Khan Academy, 2019, www.khanacademy.org/humanities/becoming-modern/romanticism/romanticism-in-france/a/romanticism-in-france.

Seiferle, Rebecca. “Romanticism Movement Overview.” The Art Story, 2017, www.theartstory.org/movement/romanticism/.

Stanska, ByZuzanna. “Eugene Delacroix – The Death of Sardanapalus.” DailyArtMagazine.com – Art History Stories, 7 Feb. 2018, www.dailyartmagazine.com/eugene-delacroix-death-sardanapalus/.