thecreepyarthistorian - Tumblr blog

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Kawahara Keiga 川原慶賀. Undersea creature (ningyo or mermaid), c.1828.  

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Alexandre Cabanel. L'Ange déchu, 1847.

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Dance card with a pencil attached. Chromolithograph, late 19th century. 

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ab. 1853 Franz Schrotzberg - Portrait of Elisabeth of Bavaria, Empress of Austria

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"Five o'clock Tea", a carte from 'The Brighton Cats' series, photographed by Harry Pointer.

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Human skull inscribed with prayers for the dead.

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Twinkle, twinkle, little bat...

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Sheila Wallace. Elizabeth I as Princess (Doll) USA,1977.

19th May 1554: Elizabeth I is released from the Tower of London.

Her sister, Mary I, had her imprisoned when she was suspected of being involved in a plot led by the traitor Sir Thomas Wyatt.

After being freed, Elizabeth did not return to the Tower until she became Queen in 1558.

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Eadweard Muybridge Phantasmascope or Phenakistoscope , 1893.  

Sequence of a couple waltzing.  

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Autoperipatetikos Walking Doll

Martin & Runyon, NY 1870  

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My first attempt with gifs...

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Krampus Card Wiener Werkstätte (publisher), 1911. In Germanic folklore, the demon Krampus punishes bad children during the Christmas season.

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Movember: Moustaches & Beards in Art History

William Holman Hunt 

Hunt was born in London, the son of a warehouse manager. He worked as an office clerk before being accepted at the Royal Academy Schools in 1844. He met J.E. Millais around this time. He exhibited at the Royal Manchester Institution from 1845, and at the Royal Academy and the British Institution from 1846. In September 1848, with D.G. Rossetti and Millais, he formed the Pre-Raphaelite Brotherhood. 

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Movember: Moustaches & Beards in Art History

John William Waterhouse 

English painter. Waterhouse entered the Royal Academy Schools in London in 1870. He exhibited at the Society of British Artists from 1872 and at the Royal Academy from 1874. From 1877 to the 1880s he regularly travelled abroad, particularly to Italy. Waterhouse created a distinctive type of female beauty which dominates his work, and he was fascinated by myths of the enchantress. His favourite device was to create psychological tension between a single figure and a group.

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Sir Luke Fildes. The Doctor, 1891. In 1890 Sir Henry Tate (1819-98) commissioned a painting from Luke Fildes, the subject of which was left to his own discretion. The artist chose to recall a personal tragedy of his own, when in 1877 his first son, Philip, had died at the age of one in his Kensington home. Fildes invented a new setting and characters for his painting, and in 1890 he made several sketches of a fisherman’s cottage in Hope Cove in Devon. He used this visual evidence to build a replica of the cottage in a corner of his studio in Melbury Road so he could experiment with the effects of lamplight while dawn was breaking in to the dark interior. The doctor bears some resemblance to Fildes himself. 

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Richard Dadd. The Fairy Feller’s Master-Stroke,1855–64. This work, although unfinished, is generally considered to be Dadd's masterpiece. It was painted for H.G. Haydon, an official at Bethlem Hospital, where Dadd was sent after he became insane and murdered his father in 1843. He was transferred to Broadmoor in July 1864, before being able to complete the painting, but he later wrote a long and rambling poem entitled 'Elimination of a Picture & its subject - called The Feller's Master Stroke', which attempts to explain some of the imagery.

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Marionettes used in performances of "The Murder in the Red Barn", the infamous story of the murder of Maria Marten.