Henry (Fussli Fuseli – Assassinated Woman and the Furies
oil on canvas
Location: Kunsthaus, Zürich.
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The background is largely obscured by shadow, though a heavy, crimson curtain is visible behind the woman, creating a sense of enclosure and claustrophobia. This backdrop evokes associations with theatricality or perhaps a chamber of mourning, intensifying the feeling of tragedy. The limited palette – primarily dark browns, blacks, and reds punctuated by the pale flesh tones of the figure – contributes to the overall somber mood.
The woman’s exposed skin suggests a violation, an exposure beyond mere physical harm. This is not simply a depiction of death; it speaks to a deeper sense of loss and desecration. The stark contrast between her pallid complexion and the surrounding darkness emphasizes her isolation and fragility. A small, dark object lies near her hand on the floor – its purpose unclear but potentially symbolic of the instrument of her demise or a discarded token of former life.
Subtly, the painting hints at themes of violence against women, loss of innocence, and the aftermath of trauma. The absence of any visible aggressor amplifies the sense of helplessness and vulnerability experienced by the woman. The composition’s theatricality suggests that this event is not merely a private tragedy but one with broader implications – a spectacle witnessed by an unseen audience. The crimson curtain could be interpreted as representing blood, passion, or even the wrathful forces alluded to in the paintings title. Overall, the work conveys a powerful sense of grief and despair, leaving the viewer to contemplate the circumstances that led to this devastating scene.