Artwork

Oberon träufelt Blumensaft auf die Augen der schlafenden Titania

Oberon träufelt Blumensaft auf die Augen der schlafenden Titania is an oil painting by the British Romanticist artist Henry Fuseli. It dates from 1797 and is held in the collection of the Kunsthaus Zürich.

About this work

Overview

Created in 1797 by Henry Fuseli, this oil painting—titled Oberon träufelt Blumensaft auf die Augen der schlafenden Titania—is part of the collection of the Kunsthaus Zürich. The work presents a nocturnal tableau rendered in deep chiaroscuro, centering on a nude male figure clutching a spear and wrapped in a draped white cloth.

Subject & Meaning

The composition draws on Shakespeare’s *A Midsummer Night’s Dream*, portraying Oberon, the fairy king, as he prepares to anoint the sleeping Titania with a floral elixir. The surrounding female figures—one prone, the other standing—react with a blend of apprehension and curiosity, suggesting the tension between enchantment and vulnerability inherent in the mythic narrative.

Technique & Style

Fuseli employs stark contrasts of light and shadow to model the figures, heightening the dramatic intensity. The illuminated flesh of the central figure emerges against a dark, foliage‑filled backdrop, while the fluid white cloth and the gleam on the spear convey motion. The painter’s brushwork combines precise anatomical detail with a theatrical, almost surreal atmosphere.

History & Provenance

The painting entered the Kunsthaus Zürich’s holdings in the early 20th century, though its exact acquisition path remains undocumented in public records. Since its arrival, it has been displayed as a representative example of Fuseli’s late‑period exploration of literary subjects and his continued interest in the interplay of the supernatural and the human form.

Context

Fuseli’s fascination with Shakespeare and the Romantic imagination informed much of his output after moving to England. By the late 1790s, his work increasingly featured dramatic lighting and mythic themes, aligning with contemporary tastes for the sublime. This piece reflects that trend, situating the artist within the broader European shift toward emotionally charged, narrative-driven painting.