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About this work
In this painting, Fuseli captures one of Shakespeare's most delicious moments of humiliation and enchantment—the scene from *A Midsummer Night's Dream* where the fairy queen Titania, magically besotted, awakens to find herself enamored of Bottom, the weaver transformed into an ass. The composition is pure Fuseli: a woman in a state of fevered desire, her body abandoned to sensation, while the grotesque object of her affection looms nearby. The palette likely shifts between the ethereal—soft, luminous tones befitting the fairy realm—and the earthy, ungainly presence of Bottom's monstrous form. There's an almost erotic charge to the scene, the kind of sensual transgression Fuseli relished, where reason is suspended and instinct reigns.
This work belongs squarely within Fuseli's sustained engagement with Shakespeare, culminating in his contributions to Boydell's Shakespeare Gallery in the late 1780s. The painting demonstrates his gift for isolating moments of psychological extremity from canonical texts—the instant where composure shatters and the irrational erupts. By choosing this particular scene, Fuseli transforms what could be merely comic into something unsettling and deeply human: a woman stripped of agency, lost in delusion, her vulnerability made visible.
Hung in a gallery wall or thoughtfully lit study, this print speaks to anyone drawn to Romanticism's darker currents—to art that doesn't shy from the macabre or the strange. It rewards close looking and invites repeated engagement, a reminder that desire and madness are only a spell away.
About Henry Fuseli
Few painters pushed Romanticism toward the genuinely strange as early or as hard as this Swiss-born Londoner. Working from the 1770s onward, he treated Shakespeare, Milton and classical myth as launching points for something feverish and psychologically charged, with elongated bodies, theatrical gesture and a taste for the uncanny that anticipates Symbolism by a century. The Nightmare, exhibited at the Royal Academy in 1782, made his reputation and still defines the territory. A friend of Blake and a teacher to Constable and Etty, he occupied an odd, vital corner of British art. His pictures suit anyone drawn to literature, dream imagery, and drama with a slightly unsettling edge.
