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Victor Hugo, The Gnome of the Night (Le nain de la nuit)


Maison de Victor Hugo, Paris

Date: 1856
Technique: Pen, brush, brown ink wash on vellum paper, 38.3 x 23.9 cm

Source

John William Waterhouse, Nymphs Finding the Head of Orpheus


Private collection

Date: 1905
Tchnique: Oil on canvas, 99 x 149 cm

Source 1
Source 2

8/30/12

Albert Goodwin, The Phantom Ship


Private collection

Date: 1900
Technique: Watercolour and bodycolour, 36.83 x 24.13 cm

Source

Albert Goodwin, Apocalypse


Private collection

Date: 1903
Technique: Watercolour and bodycolour, 44.45 x 27.30 cm

Source

8/28/12

Arthur Hacker, The Temptation of Sir Percival


Leeds Museums and Galleries - City Art Gallery

Date: 1894
Technique: Oil on canvas, 157 x 132 cm

Source 1
Source 2

Albert Besnard, The Hanged Man (Le Pendu)



Date: 1873
Technique: Etching and drypoint. 20.2 x 16.5 cm

Source

8/26/12

8/24/12

Josef Mandl, Triumfátor



Date: Unknown
Technique: Oil on canvas, 56 x 108 cm

Source 1

Source 2

Ernst Stöhr, Vampire (Vampir)


Österreichische Nationalbibliothek, Vienna

Date: 1899
Technique: Ink drawing

From Ver sacrum.

Source

8/23/12

Édouard Manet, The Absinthe Drinker


Ny Carlsberg Glyptotek, Copenhagen

Date: 1859
Technique: Oil on canvas, 178 x 103 cm

Source

Viktor Oliva, The Absinthe Drinker (Piják absintu)


Café Slavia, Prague

Date: 1901
Technique: Oil on canvas

Source

8/21/12

Marianne Stokes, The Passing Train


Private collection

Date: 1890
Technique: Oil on canvas, 61 x 76.2 cm

Source

8/20/12

Lajos Gulácsy, Daughters of the Night (Az éj leányai)


Private collection

Date: Early 1900s
Technique: Oil canvas on cardboard, 21 x 35 cm

Source

Félicien Rops, The Underworld


Royal Museums of Fine Arts of Belgium, Brussels

Date: 1868
Technique: Oil on canvas, 95 x 70.5 cm

Source

8/18/12

Ary Scheffer, Lenore - The dead drive fast


Dordrechts Museum

Date: 1830
Technique: Oil on canvas 56 x 72.3 cm

Source 1
Source 2

Walter Crane, The Laidley Worm of Spindleston Heugh


Private collection

Date: 1881
Technique: Oil on canvas, 74.5 x 169.5 cm

The Laidly Worm of Spindleston Heugh, also known as The Laidly Worm of Bamborough, is a Northumbrian ballad about a princess who changed into a dragon (the "laidly worm" of the title).

Source 1
Source 2

Georges Jules Victor Clairin, Chimère (Portrait présumé de Sarah Bernhardt)


L'Atelier d'Artistes, Paris

Date: Unknown
Technique: Crayon and watercolour, 390 x 245 mm

Source

8/15/12

Jacques Callot, The Hanging


The British Museum, London

Date: 1633
Technique: Etching

Scene from the Grandes Misères de la Guerre.

The last four years of Callot's life were marked by Richelieu's invasion of Lorraine in 1633, the capture of Nancy and the ignominious surrender of the Duke. Callot's reaction is to be seen in his last great work, the Grandes Misères de la Guerre, executed in 1633. It has frequently been pointed out that these etchings must not be connected too closely with the actual campaign in Lorraine, the Grandes Misères may be regarded as a precipitation of the artist's general feelings about war, brought to a head by the invasion of Lorraine.

In the manner of presentation Callot brings all his previous experiments to bear on intensifying the horror of the story which he has to tell. In the etching in which the bandits are hanged, the traditional dark tree in the foreground is replaced by a group of the priest giving absolution to a man about to join the row of gallows-birds in the centre of the composition. The tree from which they hang is isolated in the middle of a wide circle of soldiers, reduced by distance to minute scale. On the figures of the hanged men Callot has expended as much observation and as much finesse as in all his sketches of the courtiers of Florence.

Source

8/9/12

Félicien Rops, The Dance of Death


Private collection

Date: Unknown
Technique: Etching on paper, 55 x 37 cm

Source

8/6/12

Jakub Schikaneder, The Last Journey (Poslední cesta)


Private collection

Date: First half of the 1890s
Technique: Unknown

Source

8/5/12

Félix Buhot, Rain and Umbrella (Pluie et parapluie)



Date: 1872-78
Technique: Etching on paper, 15.2 x 10.9 cm

Source

8/3/12

Elbridge Kingsley, The Poet on Pegasus Entering the Realm of the Muses


Smithsonian American Art Museum, Washington

Date: 1890
Technique: Wood engraving, 15.9 x 13.3 cm

Copy after Albert Pinkham Ryder.

Source

Harry Clarke, Ligeia



Date: 1923

Illustration for Tales of Mystery and Imagination by Edgar Allan Poe.

I would call aloud upon her name.


Source 1
Source 2

8/1/12

James Torrance, The Story of Conn Eda


The British Museum, London

Date: c. 1893
Technique: Drawing, 308 x 204 mm

Illustration to 'Irish Fairy and Folk Tales' by William Butler Yeats, 1893, p.313

Source