A firm favourite of the ‘Fanny Sleeping’ series, compositionally this work is striking to say the least. The artist’s wife, Fanny, lies across the painting yet all we see of her is her iconic red hair and a face turned away. The real content to which Christian gives his full attention is the three different covers that engulf her, shrouding her body, and through their creases and changes of fabric, give life to the painting yet dehumanise her. A feather can be seen to the bottom left: perhaps an indication of a need to lovingly touch her as she sleeps.
