A Prison Scene, 1793, oil on zinc by Francisco de Goya, Spanish, 1746-1828.
From a dark period of Goy’s life comes the contemplation of suffering and deprivation.
In his day. Goya was known for his portraits, religious works and idyllic scenes. He suffered a mysterious and serious illness and, after that, he said his “imagination was mortified by the contemplation of my sufferings.” It is at this time his paintings became morbid, bizarre and menacing and included scenes of witchcraft.
This painting is in Bowes Museum in the town of Barnard Castle, Teesdale, County Durham, England.
Leon Wyczółkowski The Veil, 1885
(Note: Wyczólkowski, 1852-1936, was a leading painter in the Young Poland movement and a representative of Polish realism.
Wyczólkowski was a founding member of the Society of Polish Aritsts and a professor of art. After his death, his widow donated 700 works to the District Museum in Bydgoszcz, Poland. The above oil on canvas is in the Upper Silesian Museum in Bytom, Poland. — shadesandshadows.)
Massacre des Innocents, engraving by Jacques Callot, French, 1592-1635, Baroque printmaker with 1,400 etchings of the life of the period.
Callot’s genre scenes show everyone from beggars to soldiers and often in extensive, complicated landscapes. In this particular etching, Callot used his own innovative technique of stopping out which controls the depth of the acid into the metal and allows the depiction of depth.
L’Accident Port Saint-Denis oil, on canvas by Jean Béraud, Russian-born French artist, 1849-1936,
Béraud studied under Léon Bonnat and was a founding member of the Société Nationale des Beaux-Arts. Obviously, accidents have always drawn a crowd.
The Careful and the Careless Led to Join the Living and the Dead, hand-colored etching and aquatint, by Thomas Rowlandson for The English Dance of Death Series, 1814-1815.
Rowlandson used a reed pen for outline and washed his work with color. The images were then etched and aqua-tinted by professional engravers.
Etched scene from the Grand Misères de la Guerre (Great Miseries of War) series, 1633, by Jacques Callot, French, 1592-1635.
Men hang from a tree while soldiers watch and a priest (near the ladder) gives absolution to the next victim.
Callot developed a type of etching needle with a slanting oval section which allowed for a swelling line that engravers already were able to create. He also invented other methods for etchings both in method and medium.
This etching is in the British Museum in London, England.
Orpheus, 1893, by Jean Delville, Belgian symbolist painter, 1867-1953.
Delville began training at the Brussels Academy of Art at age 12.
Sketch for Two Gentlemen of Verona, 1788, oil on canvas by Angelica Kauffmann, Swiss, 1741-1807. Victoria and Albert Museum, London, England.
Kauffmann painted in Italy and England and traveled with her artist father, Joseph Johann Kauffmann, She was a founding member of the Royal Academy of Art in 1768 in London.
This scene is the one in which Silvia searchers for her lover in the forest and is taken captive by outlaws in an early play by William Shakespeare.
After the Misdeed,1885, oil on canvas by Jean Béraud, 1849-1936. The painting is on loan from Tate Britain to the National Gallery in London, England.
Russian-born French artist Béraud studied in Paris under Léon Bonnat and was a founding member of the Société Nationale des Beaux-Arts.
Paintings full of death and tragedy or passion and regret, as shown in this one, were popular in 19th century Victorian England and France. It was the fashion to go into deep mourning, to stay focused on death and to consider deeply the moral values of man.