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London, February 2 1 Sunday-Poet philip larkin claimed that the British discovered sex in 1963, but a new exhibition at the Tate Gallery in England put forward an earlier date 1782. This year, curious Londoners flocked to the summer exhibition of the Royal Academy to watch Johann Heinrich Füssli's painting "Nightmare" with surprise, confusion and excitement.

Xinhua News Agency, London, February 2 1 Sunday-Poet Philip? Larkin famously announced that sex was discovered in Britain in 1963, but a new exhibition of Tate British Art Gallery put forward a date much earlier than 1782. In that year, curiosity flooded into the summer exhibition of Royal College London to see the "nightmare of numbness, confusion and excitement" in Johann Heinrich Füssli's paintings.

There, in the usual valuable portraits and landscapes, Fuselli's oil paintings show a sleeping girl's prone body, an evil-looking monster or demon sitting on her chest, and a blind horse's head threateningly sticking out through Red Velvet curtains. What does this mean?

Ten years later, a priest of the Church of England came forward to clarify and accused Fuselli of being one of the "dissolute painters". Fuselli naturally objected, insisting that he would never play for "people fascinated by charm". But, yes, Nightmare is about sex: she leans her head back and her arms hang feebly, but it feels like this young woman must be dreaming about sex.

Therefore, in the usually valuable portraits and landscapes, Fuselli Oil shows the body of a virgin sleeping on her stomach, a degenerate forward-looking ogre or nightmare sitting on her chest and head, and a blind horse threatening to stretch out through the curtains of Red Velvet. What do you mean?

This is 10 years ago, the pastor of the Church of England clarified and condemned Fuselli as a "prodigal painting". Fuselli naturally objected, insisting that he would never play his "charm and hit the crowd." But, yes, the correlation of "nightmare": she lowered her head and hung her arms loosely, and this young woman's dream was certain.

Fuselli seems to have added his own pun. The "mare" in "nightmare" comes from German "mara", which means a tormenting spirit, which will put pressure on the sleeper's chest. Therefore, it is probably a joke of Fuselli to accompany "Mara"-the imp in the painting-with a mare in the shape of a horse's head. Ah, the dream thing.

"Nightmare" quickly became a popular image, copied by other artists and reproduced in printed matter. In fact, an oil painting was nailed to Freud's office in Vienna. Now, this original, which was borrowed from Detroit Institute of Art, has once again attracted a large audience, and has become the core exhibit of Gothic marnights:Fuseli, Blake and the Romantic Imagination, which will last until May 1 Sunday at Tate British Art Museum.

Fuselli seems to have added his own pun. The "nightmare" in "horse" comes from "Mara" in Germany, which means who tortured the chest of a nervous sleeper. Therefore, it is very likely that Fuselli's jokes are in the form of "horse", that is, the form of a horse's head, accompanied by "horse-drawn", a painting in the import and export. Ah, the dream of things.

"Nightmare" quickly became a popular image, copied to other artists and reprinted in print. In fact, the printed oil paintings were nailed to Freud's office in Vienna. Now, Primitive- on loan from Detroit Art Institute-once again attracts people as the core of "Gothic Nightmare: Fuselli, Blake and Romantic Imagination", and the exhibition is still in Tate UK through May 1.

However, this is not a sex show, although the veil does isolate some sexy pictures. Or are veils to make sure that no one will miss them? On the contrary, it is an exploration of fantasy, mysticism, horror and sexual perversion, which was expressed in English art and literature between 1770 and 1830, and was later called Gothic under the impetus of novels, movies and even pop music.

In literature, the iconic work is mary shelley's 18 18 Frankenstein. In art, this fashion is transformed into paintings and sketches with strong narrative, muscular Michelangelo men and naked goddesses, and countless elves and demons. In a sense, these works are a resistance to the rationalism of the Enlightenment. On the other hand, they represent the exploration of unique English myths.

However, this is not a gender indicator, even though the veil does not isolate some interesting images. Or are there veils to make sure no one misses them? On the contrary, exploring the world is an illusion. Mystery, horror and sexual perversion were manifested in the art and literature between 1770 and 1830 in Britain, which was triggered by novels, movies and even pop music, and was later called goth.

In literature, the landmark work is mary shelley's Frankenstein 18 18. In art, modeling into paintings and sketches strongly shows that muscular Michelangelo inspired men and naked goddesses, as well as countless fairies and demons. In a sense, these works are the inspiration of a reaction to reason, and on the other hand, they represent the exploration of unique English myths.

The political background is relevant. Britain has just lost its American colony, and the French Revolution is spreading unrest all over Europe. The cruelty and vulgarity of the cartoons in this exhibition proves the political struggle in Britain during the often unstable rule of George III.

Strangely, the person who personified Gothic art in English art was Fuselli. He was born in Zurich and was a self-taught artist. When he moved to London at the age of 35, he never spoke English fluently. However, compared with his contemporaries, he looked for materials from Shakespeare and Milton more. In both cases, he was attracted by the supernatural factors in their works.

Political background. Britain just lost its American colony, and the storm of the French Revolution swept across Europe. Alarming-even vulgar-these cartoons in this exhibition prove that during the often unstable reign of George III, political struggles took place in Britain itself.

Strangely, the personification of Gothic English art is Fuselli, a self-taught painter who was born in Zurich. He moved to London around the age of 35, and he can't speak English fluently. However, he added more materials of Shakespeare and Milton to his written reply than anyone of his contemporaries, which attracted supernatural factors in both cases.

In this exhibition, one of Fuselli's 50 oil paintings and sketches is a "weird sister", who plays a witch in Macbeth. This painting itself is an image that has been copied and imitated a lot. There are many more erotic ones. For example, his two paintings based on A Midsummer Night's Dream-Titania and Ass with Donkey's Head and Titania Awakens-depict Titania's glorious nakedness.

Fuselli certainly likes his dreams, ghosts and souls. In the dream of Queen Catherine in Shakespeare's Henry VIII, the "spirit of peace" visited the dying deposed queen. His contemporaries were similarly inspired: a print by Robert Hugh made Hamlet see the ghost of his father, while william blake made Richard be haunted by the ghost of his victim.

In 50 paintings, Fuselli is shown here as a "weird sister", and the witch he plays in Macbeth is a great copy-imitation-image. Many other countries are more attractive. For example, two of his paintings, A Midsummer Night's Dream-titanium dioxide and the donkey's head at the bottom and titanium dioxide awakening-titanium dioxide is gloriously naked.

Fuselli certainly hopes his dream, ghosts and gods. In Queen Catherine's Dream, the "spirit of peace" in Shakespeare's Henry VIII, the dying deposed queen. Similarly, he was inspired by his contemporaries: printmaker Robert Hugh met the ghost of Hamlet, and his father william blake met the ghost of Richard to pester his victims.

Fuselli also used Milton's Paradise Lost to present Adam and Eve's happy naked embrace with "Satan begins at the touch of Isoriel's spear". As a Swiss, he is familiar with German folklore and legends. In a word, he is keen on nonsense.

In the18th century, the Swiss theologian Johann Caspar Labat described Fuselli as follows: "Phantoms of ghosts, demons and lunatics, destroy angels; Murder and violence-this is his favorite theme; However, I repeat, no one loves more tenderly. "

But is Fuselli also a good painter? To some extent, this question is unfair, because he is one of those artists who care more about what they say than how they say it. Of course, his wonderful imagination prompted surrealists to rekindle their interest in his works in A.D. 1920.

Fuselli also made use of Milton's Paradise Lost, in which "Satan begins to touch Isabel's spear", suggesting that Adam and Eve embrace happiness naked. As a Swiss, he is close to German folklore and legends. In a word, he specializes in the study of hidden treasures.

/kloc-in the 0/8th century, the Swiss theologian Johann Caspar Labat Fuselli wrote: "Ghosts, ghosts of demons and lunatics, extinct angels; Murder and violence-such as his favorite theme, but I repeat, no one likes more warmth. "

But Fuselli is also a good painter? In a sense, this question is unfair. Among these artists, he cares more about what they say than how they say it. Of course, his fantastic imagination prompted surrealists to pay attention to his works on 1920.

Blake is also interested in supernatural phenomena. Tate's 25 watercolors, sketches and oil paintings, including several in his Apocalypse series, are on display at the British Art Gallery. Others use biblical themes, such as "God wrote on the table of the Covenant." His strangest and certainly the most gothic work is "Ghost of Flea", which shows a muscular vampire-like image, which is said to be the result of Blake's conversation with a flea.

Perhaps the most surprising thing, however, is that Gothic painting still attracts British people, at least if measured by newspaper art critics here, their reaction is a strange mixture of joy and embarrassment.

Blake is also interested in supernatural phenomena. Tate British Gallery exhibited 25 series of watercolors, sketches and oil paintings, including some inspired by him. Other biblical themes, such as "God wrote the Covenant on the table." Of course, it is strange that his most gothic work "Ghost Flea" shows a muscular vampire-like figure. Some people say that this is due to Blake's dialogue with fleas.

Perhaps the most surprising thing is that Gothic style still attracts Britain, at least if measured by the newspaper art critics here, their reaction is a unique mixture of joy and embarrassment.

Richard Domonte wrote in the Daily Telegraph: "At the end of this exhibition, I began to feel that Fuselli was a mediocre artist, but he was a great artist." In the Sunday Independent, Perilla Fay wrote a "nightmare": "This is a camp. It's tacky and stupid. This is pure Fuselli. " But she later admitted: "Gothic art, like Gothic novels, is a sinful pleasure: so pleasant that you don't think it will do you any good."

Rachel Campbell Johnston wrote in The Times, "This is a thrilling luxury and exciting performance." But it also refers to a critical moment in British history. "As images of room after room are displayed," she wrote, "we see a country looking into its heart for the first time, exploring its dreams, memories and desires, and exploring its fears and phobias." It all started one day in the summer of 1782.

"Look at this," Richard Domonte wrote in the Daily Telegraph. "I already think that Fuselli is a mediocre artist, not a great artist." On Independence Day, Susie Faye wrote a "nightmare": "This is the camp, sticky and stupid. This is pure Fuselli. " But she later admitted: "Gothic art, such as Gothic novels, is a crime: it is so pleasant that you think anything it can do is not good for you."

Campbell's Rachel, Johnston, wrote in his time, "This is a creepy luxury and exciting performance." But it also talks about a crucial moment in British history. "After the room is over, the photos of the room will be displayed," she wrote. "We watched the counterpart of a country enter the inner spirit for the first time, exploring its dreams, memories and wishes, and detecting its fears and fears." It happened on a summer day,

1782.

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