6/30/11

Viktor Mikhailovich Vasnetsov, Flying Carpet (Ковeр-самолeт)


Нижегородский государственный художественный музей / The Art Museum of Nizhniy Novgorod

Date: 1880
Technique: Oil on canvas, 165 x 297 сm

In Russian folk tales, Baba Yaga can supply Ivan the Fool or Ivan Tsarevich with a flying carpet or some other magical gifts (e.g., a ball that rolls in front of the hero showing him the way or a towel that can turn into bridge). Such gifts help the hero to find his way "beyond thrice-nine lands, in the thrice-ten kingdom".

In 1880, the rich industrialist Savva Mamontov commissioned Viktor Vasnetsov to illustrate a folk talk about Ivan and the Firebird. The painting represents Ivan returning home after capturing the Firebird, which he keeps in a cage. Ivan is riding the flying carpet in the early morning mist. This work was Vasnetsov's first attempt at illustrating Russian folk tales and inaugurated a famous series of paintings on the themes drawn from Russian folklore. When exhibited at the 8th exhibition of the Peredvizhniki, the painting was panned by leading critics as a commercially motivated betrayal of realism and return to the aesthetics of Romanticism. On the other hand, it was enthusiastically received by the Slavophile artists from the Abramtsevo art colony.

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William Frederick Yeames, A Visit to the Haunted Chamber

William Frederick Yeames A Visit to the Haunted Chamber painting
Private collection

Date: 1869
Technique: Oil on canvas, 59.5 x 84.5 cm

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6/29/11

Alfred Rethel, Another Dance of Death of the Year 1848 - Resurrection of Death, Plate 1


Date: 1849
Technique: Woodcut, 22 x 32 cm

Auch ein Totentanz aus dem Jahre 1848 - Auferstehung des Todes

The modern-day revival of the Dance of Death was precipitated almost single-handedly by the artist Alfred Rethel. His choice of this metaphor to depict the Revolution of 1848 was conditioned by several factors. For one thing, since the beginning of the nineteenth century, a proliferation of high-quality reproductions had increased awareness of late Medieval artists such as Holbein and Dürer. Germans, not yet citizens of a unified nation-state, sought to establish a common heritage by emulating the styles and subjects of their illustrious artistic forbears. The Totentanz, because of its reliance on seried pictures, was particularly suited to the printmaking media, and the Germanic tradition accorded unusual prestige to the graphic arts. Then, too, the circumstances of 1848 were not unlike those of the sixteenth century: the transition to an industrial economy had created gross inequities of wealth, as well as a general perception that the ruling classes were venal and inept.

Rethel had long been interested in the subject of death, and at one point even began a series of genre scenes--among them Death as Friend and Death as Enemy --that echo Holbein’s anecdotal approach. However, his Dance of Death of the Year 1848 differs from its Medieval prototypes in several key respects. Unlike Holbein’s cycle of discreet vignettes, Rethel’s six woodcuts form a cohesive narrative, wherein Death first dupes the workers into rebelling and then leads them to their doom. Far from being the great equalizer, Rethel’s Death figure reveals the ideal of equality to be illusory. Moreover, whereas Medieval depictions stressed the universality and inevitability of death, Rethel’s Death is highly selective: those who fail to heed its siren call are spared. The implication is that the victims are to blame, for they have, however inadvertently, chosen their fate.

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Alfred Rethel, Another Dance of Death of the Year 1848 - Horseman Death, Plate 2


Date: 1849
Technique: Woodcut, 22 x 32 cm

Auch ein Totentanz aus dem Jahre 1848 - Reitender Tod

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Alfred Rethel, Another Dance of Death of the Year 1848 - Incitement to Rebellion, Plate 3


Date: 1849
Technique: Woodcut, 22 x 32 cm

Auch ein Totentanz aus dem Jahre 1848 - Aufreizung zum Aufstand

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Alfred Rethel, Another Dance of Death of the Year 1848 - The Death of the Sword Reaches the People, Plate 4


Date: 1849
Technique: Woodcut, 22 x 32 cm

Auch ein Totentanz aus dem Jahre 1848 - Der Tod reicht dem Volke das Schwert

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Alfred Rethel, Another Dance of Death of the Year 1848 - Death on the Barricade, Plate 5


Date: 1849
Technique: Woodcut, 22 x 32 cm

Auch ein Totentanz aus dem Jahre 1848 - Tod auf der Barrikade

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Alfred Rethel, Another Dance of Death of the Year 1848 - The Death of a Winner, Plate 6


Date: 1849
Technique: Woodcut, 22 x 32 cm

Auch ein Totentanz aus dem Jahre 1848 - Der Tod als Sieger

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6/28/11

Albert Pinkham Ryder, The Temple of the Mind

Date: c. 1885
Technique: Unknown

This painting was bought by the collector Thomas B. Clarke in April 1885. Ryder wrote Professor John Pickard in 1907:

The theme is Poe's Haunted Palace ... The finer attributes of the mind are pictured by three graces who stand in the center of the picture: where their shadows from the moonlight fall toward the spectator. They are waiting for a weeping love to join them. On the left is a Temple where a cloven footed faun dances up the steps snapping his fingers in fiendish glee at having dethroned the erstwhile ruling graces.

Comparison with Poe's poem The Haunted Palace, which appears in The Fall of the House of Usher, shows how freely Ryder interpreted the theme.

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John Henry Fuseli/ Johann Heinrich Füssli, Horseman Attacked by a Giant Snake (Reiter von Riesenschlange überfallen)


Kunsthaus, Zürich

Date: c. 1800
Technique: Watercolor, 39 x 31.5 cm

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6/25/11

Dante Gabriel Rossetti, Pandora


Lady Lever Art Gallery, Port Sunlight

Date: 1878
Technique: Coloured chalks, 100.8 x 66.7 cm

In the Greek myth, the god Jupiter gave a casket to Pandora, a mortal woman, and forbade her from opening it. She took it back to earth and opened it, letting forth all evils into the world. Only Hope was left inside. The Latin words on the casket, 'Ultima Manet Specs' mean 'Hope remains last.' The face and figure type of Pandora are based on Jane Morris but this is not a portrait.

The meaning of the image is ambiguous. Is Pandora an evil femme fatale who ruins men by her disobedience? Or is she a heroic woman who defies the gods to take control of her own fate?

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6/24/11

Fernand Khnopff, Requiem


Hearn Family Trust

Date: 1907
Technique: Pencil, colored pencil, and watercolour on paper

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Sidney H. Sime (1867 - 1941)

Sidney Sime was an English artist in the late Victorian and succeeding periods, mostly remembered for his fantastic and satirical artwork, especially his story illustrations for Irish author Lord Dunsany.

Sime was born in Manchester in poverty. After a five-year career in the mines, including as a "scoop pusher," work at a linen shop, a barbers, and as a signwriter (setting up in his own right), he studied at the Liverpool School of Art (later "College", then joined the University of Liverpool in 1952). During his time at college, he won a South Kensington medal. He is sometimes called "the biggest thing to come out of Liverpool before the Beatles."

Sime quickly became famous for drawings and illustrations with fantastic themes, with a presence in Pick-Me-Up, The Idler and the Pall Mall Gazette. The fantastic treatment often masked biting satire, especially aimed at the rich and at politicians.

He received an inheritance after an uncle died and bought The Idler, but the business failed in under two years.

In 1904, Sime was approached by the author for whom he is most often remembered, Irish aristocrat Lord Dunsany, to illustrate his first book, The Gods of Pegana, finally published in 1905. This began an association which lasted for the rest of his life, with his illustrations especially prominent in Dunsany's earlier work (until c. 1922). For one volume, at least some of the stories were inspired by Sime works (The Book of Wonder), and for three, in special limited editions, each plate of illustration was signed by both author and artist.

Sime, who had produced a play with limited success in 1905, did both scenery and costume work for a number of productions, and had exhibitions in 1923 and 1927. In his later years, he produced less work but more in colour, his earlier work having been almost exclusively monochrome.

Sime also contributed frontispieces to The Ghost Pirates by William Hope Hodgson and The House of Souls by Arthur Machen. Sime died in 1941, and his widow Mary preserved many of his remaining works, which on her death were willed to form the Sime Memorial Gallery, then and still in Worplesdon near Guildford.

Today, Sime is best remembered for his work with Lord Dunsany.

At least four collections of Sime's work have been published, though none are in print today. The quality of reproduction in these has been variable. Many reprint editions of Dunsany work omit the illustrations but some include them. As with the Sime collections, some publishers have produced high-quality reproductions but some have been very poor.

Illustrator Roger Dean is among many who cite him as an influence. Writer H. P. Lovecraft was also a fan of his (mentioning the artist in the story "Pickman's Model") as was Howard de Walden.

The Sime Gallery is still extant in the village of Worplesdon near Guildford but the most famous collections of Sime work belonged to Lord Dunsany and Howard de Walden. The latter is unavailable, and it is believed many were lost in a fire. However, the Dunsany collection, including all the originals of Sime's work for Dunsany, plus a few other pieces, and notably with several in colour, can be viewed by arrangement at Dunsany Castle in County Meath, Ireland.
Source: Wikipedia

Artwork

6/23/11

Evelyn de Morgan, The Vision


The De Morgan Centre, London

Date: 1914
Technique: Oil on canvas, 61 x 79 cm

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6/22/11

Francisco de Goya, The Holy Office or Pilgrimage to the Fountain of Saint Isidore (Peregrinación a la Fuente de San Isidro o El Santo Oficio)


Museo del Prado, Madrid

Date: 1820 - 1823
Technique: Mixed technique on wall, 127 x 266 cm

Goya represents a procession which seems to be led by a member of the Holy Office who is the figure in the right foreground wearing clothing of seventeenth-century fashion, with a rather comical face and gesture. The figures that surround him are elderly pious women who are in no way the envy of the sorceresses of the Witches' Sabbath or the ones who appear in the artist's drawings and prints. The same may be said of those coming in from the right, some of whom, deformed or hunchbacked, stagger along with great difficulty. The pilgrimage is headed for the spring which may bring them a cure, but the characters in the foreground indicate that Goya is rather skeptical in this regard.

This is perhaps the only one of the Black Paintings that has a clearly satirical meaning. The member of the Holy Office does not frighten us, neither do the pious old women who surround him or follow him in procession. It is not surprising that they prompt a grin. Goya's attitude, his approach to the subject, is possibly due to a known fact: at the time this work was painted, the court of the Inquisition had been abolished. It would never be reestablished, not even with the return to absolutism and in spite of the pressure brought to bear by Ferdinand VII.

The Inquisition had assumed religious functions, but it had also become a political instrument, as the Church hierarchy themselves had often recognized. Its presence had done much to shape Spain's cultural life. Goya himself had been investigated by the court on several occasions. First, for his series of prints called Los Caprichos, and later, after the Peninsular War, when hos autorship of the paintings called Las Majas, the property of the first minister, Manuel Godoy, came under scrutinity because they were considered to be obscene. The disappearance of this institution was most surely a relief for the elderly painter, as this work seems to tell us. (Valeriano Bozal, Goya-Black Paintings)

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6/21/11

Odilon Redon, Chimera


Kröller-Müller Museum, Otterlo

Date: 1883
Technique: Charcoal and black chalk on paper, 50.4 x 34 cm

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6/20/11

Serafino Macchiati, Le visionnaire


Musée d'Orsay, Paris

Date: 1904
Technique: Oil on canvas, 55 x 38.5 cm

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6/17/11

Edward Burne-Jones, The Doom Fulfilled


Staatsgalerie Stuttgart

Date: 1884-85
Technique: Oil on canvas

Number 7 in the Perseus Cycle

This picture, like other members of the series, draws upon the version of the Perseus legend that appears in William Morris's "The Doom of King Acrisius" from The Earthly Paradise.

He beheld the sea,
And saw a huge wave rising mightily
Above the smaller breakers of the shore,
Which in its green breast for a minute bore
A nameless horror, that it cast aland
And left, a huge mass on the oozing sand,
That scarcely seemed a living thing to be,
Until at last those twain it seemed to see,
And gathering up its strange limbs, towards them passed.
And therewithal a dismal trumpet-blast
Rang from the tower, and from the distant town
The wind in answer brought loud wails adown.
Then Perseus gently put the maid from him,
Who sank down shivering in her every limb,
Silent despite herself for fear and woe,
As down the beach he ran to meet the foe.
But he, beholding Jove's son drawing near,
A great black fold against him did uprear,
Maned with grey tufts of hair, as some old tree
Hung round with moss, in lands where vapours be;
From his bare skull his red eyes glowed like flame
And from his open mouth a sound there came,
Strident and hideous, that still louder grew
As that rare sight of one in arms he knew:
But godlike, fearless, burning with desire,
The adamant jaws and lidless eyes of fire
Did Perseus mock, and lightly leapt aside
As forward did the torture-chamber glide
Of his huge head, and ere the beast could turn,
One moment bright did blue-edged Herpe burn,
The next was quenched in the black flow of blood;
Then in confused folds the hero stood,
His bright face shadowed by the jaws of death,
His hair blown backward by the poisonous breath;
But all that passed, like lightning-lighted street
In the dark night, as the blue blade did meet
The wrinkled neck, and with no faltering stroke,
Like a God's hand the fell enchantment broke,
And then again in place of crash and roar,
He heard the shallow breakers on the shore,
And o'er his head the sea-gull's plaintive cry,
Careless as Gods for who might live or die.

"The Doom of King Acrisius," I, 274-75

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Edward Burne-Jones, The Baleful Head


Staatsgalerie Stuttgart

Date: 1886-87
Technique: Oil on canvas

Number 8 in the Perseus Cycle

This picture, like other members of the series, draws upon the version of the Perseus legend that appears in William Morris's "The Doom of King Acrisius" from The Earthly Paradise.

May I not see this marvel of the lands
So mirrored, and yet live? Make no delay,
The sea is pouring fast into the bay,
And we must soon be gone."
"Look down", he said,
"And take good heed thou turnest not thine head."
Then gazing down with shuddering dread and awe,
Over her imaged shoulder, soon she saw
The head rise up, so beautiful and dread,
That, white and ghastly, yet seemed scarcely dead
Beside the image of her own fair face,
As, daring not to move from off the place,
But trembling sore, she cried: "Enough, O love!
What man shall doubt thou art the son of Jove;
I think thou wilt not die." Then with her hand
She hid her eyes, and trembling did she stand
Until she felt his lips upon her cheek;
Then turning round, with anxious eyes and meek,
She gazed upon him, and some doubtful thought
Up to her brow the tender colour brought.

"The Doom of King Acrisius," I, 276-77

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6/16/11

Edward Burne-Jones, The Finding of Medusa


Staatsgalerie Stuttgart

Date: 1887
Technique: Oil on canvas

Number 4 in the Perseus Cycle

This picture, like other members of the series, draws upon the version of the Perseus legend that appears in William Morris's "The Doom of King Acrisius" from The Earthly Paradise.

And midst this wretchedness a mighty hall,
Whose great stones made a black and shining wall;
The doors were open, and thence came a cry
Of one in anguish wailing bitterly;
Then o'er its threshold passed the son of Jove,
Well shielded by the grey-eyed Maiden's love.
Now there he saw two women bent and old,
Like to those three that north he did behold;
There were they, sitting well-nigh motionless,
Their eyes grown stony with their long distress,
Staring at nought, and still no sound they made,
And on their knees their wrinkled hands were laid.
But a third woman paced about the hall,
And ever turned her head from wall to wall
And moaned aloud, and shrieked in her despair;
Because the golden tresses of her hair
Were moved by writhing snakes from side to side,
That in their writhing oftentimes would glide
On to her breast, or shuddering shoulders white;
Or, falling down, the hideous things would light
Upon her feet, and crawling thence would twine
Their slimy folds about her ankles fine.
But in a thin red garment was she clad,
And round her waist a jewelled band she had,
The gift of Neptune on the fatal day
When fate her happiness first put away.
So there awhile unseen did Perseus stand,
With softening heart, and doubtful trembling hand
Laid on his sword-hilt, muttering: "Would that she
Had never turned her woeful face to me."
But therewith allas smote him with this thought,
"Does she desire to live, who has been brought
Into such utter woe and misery,
Wherefrom no god or man can set her free?"

"The Doom of King Acrisius," I, 259-60

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6/15/11

Albert Pierre René Maignan, The Green Muse (La muse verte)


Musée de Picardie d'Amiens

Date: 1895
Technique: Oil on canvas

The Green Fairy is the English translation of La Fee Verte, the affectionate French nickname given to the celebrated absinthe drink in the nineteenth century. The nickname stuck, and over a century later, "absinthe" and "Green Fairy" continue to be used interchangeably by devotees of the potent green alcohol. Absinthe earned other nicknames, too: poets and artists were inspired by the "Green Muse".

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Joseph Wright of Derby, The Alchemist in Search of the Philosophers Stone


Derby Museum and Art Gallery

Date: 1771
Technique: Oil on canvas, 127 x 101.6 cm

Full title: The Alchymist, In Search of the Philosopher’s Stone, Discovers Phosphorus, and prays for the successful Conclusion of his operation, as was the custom of the Ancient Chymical Astrologers

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6/13/11

Alphonse Osbert, The Songs of the Night (Les Chants de la nuit)


Musée d'Orsay, Paris

Date: 1896
Technique: Oil on canvas, 77 x 124 cm

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6/12/11

Witold Pruszkowski, Eloe


Muzeum Narodowe, Wrocław

Date: 1892
Technique: Pastel on paper, 56.8 x 104 cm

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6/11/11

Pierre Puvis de Chavannes, The Dream (Le rêve)


Musée d'Orsay, Paris

Date: 1883
Technique: Oil on canvas, 82 x 102 cm

When Pierre Puvis de Chavannes' Dream was presented at the Salon des Artistes Français in 1883, the catalogue described its subject as: The Dream! "Love, Glory and Wealth appear to him in his sleep".

On a clear moonlit night, a young man, probably a traveller as the bundle at his side suggests, has fallen asleep by a tree. Three young women come to him in a dream, flying though the starry sky: the first, with roses in her hands, suggests Love, the second is brandishing the laurel wreath of Glory, while the third is strewing the coins of Fortune. The landscape is sketched in with a great economy of means. The shapes are highly simplified and painted in broad zones of solid colour.

Puvis de Chavannes used a narrow range of muted colours brightened only by the crescent moon. In this easel painting, he has applied the plastic language of the large decorative compositions for which he was renowned.
Etienne Moreau-Nélaton, a great admirer of Puvis de Chavannes, bought The Dream in 1899. It was part of the collector's generous donation to the national museums in 1906.

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6/9/11

Artemisia Gentileschi, Judith Beheading Holofernes (II)


Galleria degli Uffizi, Florence

Date: 1612-21
Technique: Oil on canvas, 199 x 162 cm

One of the most popular subjects of Artemisia Gentileschi is a particularly violent rendering of Judith killing Holofernes. An earlier version is in the Museo Nazionale di Capodimonte, Naples and another in the Pitti, Florence.

It has been suggested that Artemisia's Judith Beheading Holofernes in the Uffizi was essentially a fancy-dress copy of her father's earlier work and not an independent rethinking of the Naples composition. X-radiographs of the Naples picture reveal a substantial number of changes, which make it highly unlikely that the picture was a repetition of another composition.

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Artemisia Gentileschi, Judith Beheading Holofernes (I)


Museo Nazionale di Capodimonte, Naples

Date: 1611-12
Technique: Oil on canvas, 158.8 x 125.5 cm

As with much of Artemisia Gentileschi's work, scholars have tried to explain the hair-raising Judith Beheading Holofernes as a personal reaction to her 'date-rape' trial of 1612, but, in truth, her point of departure was far more visual than psychological. Her primary source was undoubtedly Caravaggio's Judith (Galleria Nazionale d'Arte Antica, Rome) from some ten years earlier. The intense violence of the slaying, the lack of decorative details and even Judith's stiff parallel arms are all reliant on Caravaggio. Artemisia probably also knew Adam Elsheimer's Judith Beheading Holofernes (Victoria and Albert Museum, London), which was owned by Rubens. Elsheimer's small copper may have influenced the position of Holofernes' body and legs, although it should be noted that Artemisia's canvas has been cut down on the left and his legs are now missing. Other expressive and compositional elements can be related to the work of her father Orazio, especially his Judith and Her Maidservant (Wadsworth Atheneum, Hartford). The youthful appearance and important co-conspiratorial role given to the maidservant Abra as well as the triangular structure are derived from Orazio's Hartford canvas.

Artemisia's Judith has such close affinities with her father's work that a number of scholars have argued for Orazio's authorship. It has been suggested that Artemisia's Judith Beheading Holofernes (Galleria degli Uffizi, Florence) was essentially a fancy-dress copy of her father's earlier work and not an independent rethinking of the Naples composition. X-radiographs of the Naples picture reveal a substantial number of changes, which make it highly unlikely that the picture was a repetition of another composition. Furthermore, the quality of the execution is not high enough to be that of Orazio; nor did Orazio ever seek this level of brutal directness. The simplification of the drapery and lack of decorative embellishment are consistent with other pictures painted during Artemisia's first Roman period. A number of copies show the composition before it was cut down. A small one on touchstone (Quadreria Arcivescovile, Milan) is paired with a version of Orazio's David Contemplating the Head of Goliath (Galleria Spada, Rome). This may imply that both originals were in the same collection and that both were by Orazio, but it could also mean that the patron wanted a 'diptych' by father and daughter.

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Michelangelo Merisi da Caravaggio, Judith Beheading Holofernes


Galleria Nazionale d'Arte Antica, Rome

Date: c. 1598
Technique: Oil on canvas, 145 x 195 cm

A whole book in the Bible is devoted to Judith, because as a woman she embodies the power of the people of Israel to defeat the enemy, though superior in numbers, by means of cunning and courage. She seeks out Holofernes in his tent, makes him drunk, then beheads him. The sight of their commander's bloodstained head on the battlements of Bethulia puts the enemy to flight.

In the painting, Judith comes in with her maid - surprisingly and menacingly - from the right, against the direction of reading the picture. The general is lying naked on a white sheet. Paradoxically, his bed is distinguished by a magnificent red curtain, whose colour crowns the act of murder as well as the heroine's triumph.

The first instance in which Caravaggio would chose such a highly dramatic subject, the Judith is an expression of an allegorical-moral contest in which Virtue overcomes Evil. In contrast to the elegant and distant beauty of the vexed Judith, the ferocity of the scene is concentrated in the inhuman scream and the body spasm of the giant Holofernes. Caravaggio has managed to render, with exceptional efficacy, the most dreaded moment in a man's life: the passage from life to death. The upturned eyes of Holofernes indicate that he is not alive any more, yet signs of life still persist in the screaming mouth, the contracting body and the hand that still grips at the bed. The original bare breasts of Judith, which suggest that she has just left the bed, were later covered by the semi-transparent blouse.

The roughness of the details and the realistic precision with which the horrific decapitation is rendered (correct down to the tiniest details of anatomy and physiology) has led to the hypothesis that the painting was inspired by two highly publicized contemporary Roman executions; that of Giordano Bruno and above all of Beatrice Cenci in 1599.

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Adam Elsheimer, Judith Beheading Holofernes


Wellington Museum, Apsley House, London

Date: 1601-03
Technique: Oil on silvered copper, 24.2 x 18.7 cm

This painting is the first work by Adam Elsheimer on a silver ground. This technical innovation may in part account for the work's relatively small size.

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6/8/11

Thomas Hornor, Spirit of the Vale of Neath


National Museums & Galleries of Wales

Date: Early 19th century
Technique: Unknown

Thomas Hornor (1785-1844) was a London landscape gardener who invented a device which he claimed transposed an accurate representation of landscape onto paper. He advertised his invention, most probably a camera obscura, in The Cambrian in 1814, offering his sevices to the owners of large estates. As a result he obtained several commissions, and between 1816 and 1820 produced a series of sumptous leather bound albums of about twenty watercolours interleaved with descriptions of scenes in south Wales. This image by Hornor are taken from one of these albums entitled "Illustrations of the Vale of Neath with the scenery of Rheola and part of the adjoining country". As well as describing the places, the narrative in the album also incorporates some of Hornor's personal thoughts, which create a personal diary of his tour. When bound in the original album this flap was overlaying another similar work and had to be lifted to reveal the fantastical scene in the clouds.
Text by: Department of Art, National Museums & Galleries of Wales

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6/7/11

Carl Gustav Carus, Pilgrim in a Rocky Valley


Nationalgalerie, Berlin

Date: c. 1820
Technique: Oil on canvas, 28 x 22 cm
In this painting Carus adopted the view of a figure seen from behind which Friedrich had introduced; here he is hastening ahead of the viewer into the picture and anticipating his view.
In a Europe becoming remorselessly urban and industrial, the cloaked wanderer trudging away into high mountains with his pilgrim's staff, though painted in 1820, strikes a suitably symbolic farewell to the Romantic religion of nature.

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6/6/11

Francis Danby, Scene from the Apocalypse


Private collection

Date: c. 1829
Technique: Oil on canvas, 61 x 77 cm

After attending the drawing school of the Royal Dublin Society and spending a brief period in London, Danby settled around 1813 for two decades in Bristol, in whose environs he painted the small, exquisite landscapes on which his fame today largely rests. Forced to leave England in 1829 due to financial problems and a marital scandal, Danby established himself in Paris and Geneva, where he remained until 1840. His oils, ink drawings, and watercolours, focussing on lyrically romantic landscapes, represents one of the most significant contributions made by any artist to nineteenth-century British landscape painting. He also concerned himself with religious themes, treated in a visionary manner.

The present painting is presumably one of four depicting scenes from the Apocalypse. In a Romantic nocturnal landscape evoking the infinity of the cosmos appears a vision of the giant angel described in Chapter 10 of the Apocalypse, descending in a cloud from heaven with a rainbow over his head and legs like columns of fire. The natural scene in which the visionary apparition is set evinces a coloration and sophisticated painterly handling that explain Danby's rank as one of the finest British landscapists of the nineteenth century.

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6/5/11

Didier Barra, Landscape with Buildings


The State Hermitage Museum, St. Petersburg

Date: 17th century
Technique: Oil on canvas, 78 x 103 cm

Until recent years the paintings of Didier Barra, together with those of François de Nomé, were attributed to a mysterious "Monsù Desiderio".

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6/4/11

David Teniers the Younger, Dulle Griet (Mad Meg)


Private collection

Date: 1640s
Technique: Oil on oak panel, 48 x 69 cm

Dulle Griet (Dull Gret, also known as Mad Meg) is a figure of Flemish folklore who is the subject of a 1562 painting by Pieter Brueghel the Elder. The painting depicts a peasant woman, Mad Meg, who leads an army of women to pillage Hell. The painting is in the Museum Mayer van den Bergh in Antwerp.

She is also the subject of a 1640s painting by Flemish painter David Teniers the Younger.

Dull Gret appears as a character in Caryl Churchill's Play "Top Girls" (1982), where she recounts her invasion of Hell: "I'd had enough, I was mad, I hate the bastards. I come out my front door that morning and shout till my neighbors come out and I said, "Come on, we're going where the evil come from and pay the bastards out.'" (Churchill, 28).

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6/3/11

Paul Albert Steck, Ophelia Drowning



Date: 1895
Technique: Oil on canvas, 98 x 162 cm

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6/2/11

Tavik František Šimon, Chosen Death



Date: 1899-1903
Technique: Etching, 107 x 110 mm

From the revised Catalogue Raisonné by Arthur Novak

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Paul Gustave Doré, Paradise Lost - Adam watches as Eve sleeps



Date: 1866

Illustration to Paradise Lost by John Milton

Leaning, half-raised, with looks of cordial love, Hung over her enamored. (Book V)

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Paul Gustave Doré, Paradise Lost - Satan is cast out the hill of Heaven and is cast in Hell's canyons



Date: 1866

Illustration to Paradise Lost by John Milton

Nor more; but fled Murmuring, and with him fled the shades of night. (Book IV)

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Paul Gustave Doré, Paradise Lost - Two of the Angels talk



Date: 1866

Illustration to Paradise Lost by John Milton

These to the bower direct / In search of whom they sought. (Book IV)

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Paul Gustave Doré, Paradise Lost - Angels on Guard



Date: 1866

Illustration to Paradise Lost by John Milton

So promised he; and Uriel to his charge Returned. (Book IV)

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Paul Gustave Doré, Paradise Lost - Eve talks to Adam



Date: 1866

Illustration to Paradise Lost by John Milton

The savoury pulp they chew, and in the rind Still as they thirsted, scoop the brimming stream. (Book IV)

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Paul Gustave Doré, Paradise Lost - Satan hides in Paradise



Date: 1866

Illustration to Paradise Lost by John Milton

A happy rural seat of various view. (Book IV)

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Paul Gustave Doré, Paradise Lost - Satan flies up to Earth



Date: 1866

Illustration to Paradise Lost by John Milton

Now to the ascent of that steep savage hill Satan hath journey'd on, pensive and slow. (Book IV)

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Paul Gustave Doré, Paradise Lost - The Fall of Satan



Date: 1866

Illustration to Paradise Lost by John Milton

Me miserable! which way shall I fly Infinite wrath, and infinite despair? (Book IV)

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Paul Gustave Doré, Paradise Lost - Satan is cast out of Heaven and is plunged into Hell



Date: 1866

Illustration to Paradise Lost by John Milton

Towards the coast of Earth beneath, Down from the ecliptic, sped with hoped success, Throws his steep flight in many an aëry wheel. (Book III)

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Paul Gustave Doré, Paradise Lost - Chaos watches as the Rebel Angels are thrown into Hell



Date: 1866

Illustration to Paradise Lost by John Milton

And many more too long, Embryos, and idiots, eremites, and friars. (Book III)

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