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Fuseli can perhaps best be described as a literary painter, although paradoxically his proto-surrealist The Nightmare painting -- his most famous work -- has no direct literary sources. Fuseli shows a fetishist obsession in many of his works. There is trichophilia in the Kallipyga and a number of other works. There is the theme of female submission in the The Nightmare female dominance in Brunhilde Observing Gunther, Whom She Has Tied to the Ceiling and Symplegma eines gefesselten nackten Mannes. There are a couple of orgiastic group scenes, which he calls symplegmata such as Symplegma of a Man with Three Women, Erotische Burleske and Symplegma a man and a woman with the caring servant.

Furthermore, he is an forerunner of a morbid and dark romanticism in such works as The Nightmare, Wolfram Introducing Bertrand of Navarre to the Place where he had Confined his Wife with the Skeleton of her Lover, The Sleeping Woman and the Furies, The Night-Hag Visiting the Lapland Witches and the very eerie The Silence.

Contents 1 Paintings 2 Drawings and prints 2.1 Symplegma 3 Bibliography 4 Ode by William Blake

Paintings

• The Nightmare
• Fallstaff im Wäschekorb[1][2]
• The Silence[3]
• A Woman Reclining and a Woman Playing Piano [4]
• Fairy Mab (circa 1815-1820) [5]
• The Night-Hag Visiting the Lapland Witches[6] (circa 1796) is a painting by Fuseli.

• Wolfram Introducing Bertrand of Navarre to the Place where he had Confined his Wife with the Skeleton of her Lover circa 1812-1820 [7]
• The Sleeping Woman and the Furies[8], Fuseli

Drawings and prints

• The Fireplace
• La débutante[9]
• The Artist Moved by the Grandeur of Ancient Ruins[10] (1778-79) by Fuseli.

Symplegma

Symplegma

• Symplegma of a Man with Three Women[11] (1770–78) is a drawing by Fuseli.

• Erotische Burleske[12]
• Symplegma eines Mannes und einer Frau mit helfender Dienerin[13]
• Symplegma eines gefesselten nackten Mannes[14]
• Brunhilde Observing Gunther, Whom She Has Tied to the Ceiling[15], Fuseli
• Kallipyga[16]

Bibliography

Fuseli bibliography from Kirjasto: Fuseli, Dichter und Maler by Arnold Federmann (1927); Fuseli by Rudolf Beutler (1939); The Drawings of Henry Fuseli by Paul Ganz (1949); The Mind of Henry Fuseli, ed. by Eudo Mason (1951); The Drawings of Henry Fuseli, edited by C.N.P. Powell (1951); Fuseli Studies by Frederick Antal (1956); J.H. Fuseli by Gert Schiff (1968); The Life and Art of Henry Fuseli by Peter Tomory (1972); Fuseli: The Nightmare by Nicholas Powell (1973); The Fuseli Circle in Rome: Early Romantic Art of the 1770s by Nancy L. Pressly (1979); Phantoms of the Imagination by A.M. Hammacher (1981); Blake and Fuseli: A Study in the Transmission of Ideas by Carol Louise (1985); Prints and Engraved Illustrations by and After Henry Fuseli: A Catalogue Raisonné by D. H. Weinglass (1994); Fuseli to Menzel: Drawings and Watercolors in the Age of Goethe from a German Private Collection by Hinrich Sieveking (1998); Fuseli by Federico Zeri (2001); Henry Fuseli by Martin Myrone (2001) [17]

See also Franziska Lentzsch et al.: Füssli - The Wild Swiss. Scheidegger & Spiess, Zürisch 2005

Ode by William Blake

The only man that ever I knew

Who did not make me almost spew

Was Fuseli: he was both Turk and Jew -

And so, dear Christian Friends, how do you do?

--(William Blake's tribute to Fuseli)