Open up to me.
For a seed to achieve its greatest expression, it must come completely undone. The shell cracks, its insides come out and everything changes. To someone who doesn’t understand growth, it would look like complete destruction.
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Victorian fairy painting
'Fairy painting, particularly when produced in its Golden Age, between 1840 and 1870, is a peculiarly British contribution to the development of Romanticism. […] As modern industrial progress engulfed the English countryside, the Victorians embraced belief in fairies as a reaction to the disenchantment of the world […] Fairy painting is the visual evidence of a spectrum of mid-19th-century preoccupations: nationalism, antiquarianism, exploration, anthropology, the dismantling of religious belief and, crucially, the emergence of spiritualism.'
Jeremy Maas and others, Victorian Fairy Painting, exhib. catalogue (Royal Academy of Arts: Merrell Holberton, London, 1998)
John Anster Fitzgerald (1823-1906), The Fairy’s Barque, 1860
John Anster Fitzgerald, Fairy Hordes Attacking a Bat, date unknown
Richard Dadd (1817-1886), Titania Sleeping, 1841
Joseph Noel Paton (1821-1901), The Reconciliation of Oberon and Titania, 1847
Edwin Landseer (1802-1873), Scene from ‘A Midsummer Night’s Dream’, Titania and Bottom, 1848-51
Richard Doyle (1824-1883), ‘The Triumphal March of the Elf King’, from In Fairyland, or Pictures from the Elf World, 1869
Wearing fedoras, top hats and waistcoats and staring fixedly back at the camera, these men could have been posing for a magazine. But these amazing images from the 1910s to the 1930s are actually police mugshots taken of convicted criminals arrested in Australia. The collection of pictures are a series of around 2,500 ‘special photographs’ taken by the New South Wales Police Department photographers.
I need this to live.
In eternity, where there is no time, nothing can grow. Nothing can become. Nothing changes.
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