Oil On Canvas, Real Flavor of Old Masters

All Richard Dadd 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
Come unto These Yellow Sands, Richard Dadd
 Come unto These Yellow Sands   "Come unto These Yellow Sands". Oil on canvas, 21.75 x 30.5 inches.
Fairy Feller's Master-Stroke, Richard Dadd
 Fairy Feller's Master-Stroke   1855-64 Medium oil on canvas Dimensions 54 x 39.5 cm (21.3 x 15.6 in) cjr
Fairy Fellers Master Stroke, Richard Dadd
 Fairy Fellers Master Stroke   1855 - 64 Medium oil on canvas Dimensions 54 x 39.5 cm (21.3 x 15.6 in) cyf
Imaginary Egyptian Harem, Richard Dadd
 Imaginary Egyptian Harem   mk155 1865 Watercolor on colored paper with white highlights 27.5x17.9cm
The Artist's Halt in the Desert (mk46), Richard Dadd
 The Artist's Halt in the Desert (mk46)   c.1845 Watercolour and bodycolour 37x70.7cm
The Fairy Feller Master Stroke by Richard Dadd, Richard Dadd
 The Fairy Feller Master Stroke by Richard Dadd   The Fairy Feller's Master-Stroke by Richard Dadd, oil on canvas, 67cm x 52.5cm, 1855-64, Tate Gallery, London, United Kingdom
The Tombs of the Caliphs, Richard Dadd
 The Tombs of the Caliphs   mk155 1843 Watercolor 24.2x36.8cm

Richard Dadd
1817-1886 was an English painter of the Victorian era, noted for his depictions of fairies and other supernatural subjects, Orientalist scenes, and enigmatic genre scenes, rendered with obsessively minuscule detail. Most of the works for which he is best known were created while he was incarcerated in a psychiatric hospital. Dadd was born at Chatham, Medway in Kent, England, the son of a chemist. His aptitude for drawing was evident at an early age, leading to his admission to the Royal Academy of Arts at the age of 20. With William Powell Frith, Augustus Egg, Henry O'Neil and others, he founded The Clique, of which he was generally considered the leading talent. In July 1842, Sir Thomas Phillips, the former mayor of Newport, chose Dadd to accompany him as his draftsman on an expedition through Europe to Greece, Turkey, Palestine and finally Egypt. In November of that year they spent a gruelling two weeks in Palestine, passing from Jerusalem to Jordan and returning across the Engaddi wilderness. Toward the end of December, while travelling up the Nile by boat, Dadd underwent a dramatic personality change, becoming delusional and increasingly violent, and believing himself to be under the influence of the Egyptian god Osiris. His condition was initially thought to be sunstroke. On his return in the spring of 1843, he was diagnosed to be of unsound mind and was taken by his family to recuperate in the countryside village of Cobham, Kent. In August of that year, having become convinced that his father was the Devil in disguise, Dadd killed him with a knife and fled for France. En route to Paris Dadd attempted to kill another tourist with a razor, but was overpowered and was arrested by the police. Dadd confessed to the killing of his father and was returned to England, where he was committed to the criminal department of Bethlem psychiatric hospital (also known as Bedlam). Here and subsequently at the newly created Broadmoor, Dadd was cared for (and encouraged to continue painting) by the likes of Drs William Wood and Sir W. Charles Hood, in an enlightened manner. Which condition he suffered from is unclear, but it is usually understood to be a form of paranoid schizophrenia.He appears to have been genetically predisposed to mental illness; two of his siblings were similarly afflicted, while a third had "a private attendant" for unknown reasons.In the hospital he was allowed to continue to paint and it was here that many of his masterpieces were created, including his most celebrated painting, The Fairy Feller's Master-Stroke, which he worked on between 1855 and 1864. Also dating from the 1850s are the thirty-three watercolour drawings titled Sketches to Illustrate the Passions, which include Grief or Sorrow, Love, and Jealousy, as well as Agony-Raving Madness and Murder. Like most of his works these are executed on a small scale and feature protagonists whose eyes are fixed in a peculiar, unfocused stare.

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