Eugenio Lucas Velázquez, A City on a Rock

Metropolitan Museum of Art, New York

Date: 1850-75
Technique: Oil on canvas, 84 x 104 cm

When "A City on a Rock" was purchased in Spain in the mid-1880s by an American collector, it was attributed to Francisco de Goya (1746–1828). The painting is now thought to be by one of Goya's followers, Eugenio Lucas, and may have been painted as late as 1850–75. Lucas studied Goya's techniques and managed to execute a painting sufficiently close to Goya's style to deceive most authorities until about 1970. Many of the compositional elements have been taken from autograph works by Goya (both paintings and prints), and it appears, therefore, to be a pastiche.



Francis Danby, The Enchanted Castle

Victoria and Albert Museum, London

Date: c. 1841
Technique:  Oil on canvas, 83.8 x 116.8 cm



Joseph Wright, Romeo and Juliet. The Tomb Scene

Derby Museum and Art Gallery

Date: 1790
Technique: Oil on canvas, 177.8 x 241.3 cm

The painting shows Wright's famed skill with nocturnal and candlelit scenes. It depicts the moment in Shakespeare's Romeo and Juliet at which Juliet, kneeling beside Romeo's body, hears a footstep and draws Romeo's dagger. Juliet's line is "Yea, noise? Then I'll be brief. O happy dagger!" and is said just before Juliet kills herself. In addition to this painting, Derby Museum also own a preparatory sketch by Wright. On the sketch he proposes the change he made to the painting where he moved the sarcophagus and its niche to the right. Wright was trying to increase the size of the image of the illuminated wall. The gladiatorial figure of Juliet with her outstretched arms attracts the eye and the heroic death of Romeo have been compared to Michelangelo's drawing of Tityus.




Sidney H. Sime, There The Gibbelins Lived And Discreditably Fed

Illustration from The book of wonder, a chronicle of little adventures at the edge of the world by Edward John Moreton Drax Plunkett Dunsany; 1913

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