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THE INTERNATIONAL EXHIBITION: "THE SLEEP OF SORROW AND THE DREAM OF JOY"..., 1862. CREATOR: E. SKILL.
The International Exhibition: "The Sleep of Sorrow and the Dream of Joy", sculpted by R. Monti, 1862. 'Nothing can be embodied more abstract and insubstantial than a dream; and nothing can be...more conventional than the representation of two figures as one and the same person...The success of the sculptor is due to the force of the sorrowful expression in the sleeper, and the felicity with which the elated buoyancy of the spirit is rendered - disembodied as it seems to be in sleep, though still wearing a thin veil of earth - floating away to dreamland, that home and resting-place, those Elysian fields...As we look at this poor sleeping maiden, at the contorted, uneasy position of her limbs, the still painfully-contracted brow, we see that sleep has come from exhaustion as a respite...The roses are still within her grasp, but they are unplucked, and she seems to have found only their thorns in her path. Is the overturned empty cup at her side an emblem of her life?...The execution of this upper figure is extremely refined; the action is very graceful and expressive, the buoyancy...admirably expressed, and the technical difficulty of representing "flying drapery" (in marble even more than in painting) perfectly mastered'. From "Illustrated London News", 1862. The International Exhibition: "The Sleep of Sorrow and the Dream of Joy"..., 1862. Creator: E. Skill. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601159839
THE DAY DREAM, BY J. HILL, IN THE EXHIBITION OF THE SOCIETY OF BRITISH ARTISTS, 1862. CREATOR: W THOMAS.
The Day Dream, by J. Hill, in the Exhibition of the Society of British Artists, 1862. Engraving of a painting. 'What the subject of this Welsh lassie's day dream may be we must leave to the reader to guess. She had, it is not too much to suppose, a foregone determination to indulge in reverie on arriving at this, perhaps, favourite spot, whether it be the well itself or a rest by the way under the sometimes shady tree. Her attitude and folded hands seem to tell us that she has systematically and semi-consciously subsided into a condition of sweet do-nothingness and forgetfulness...From her unkempt, dishevelled hair and careless dress one might suppose that she had been doing little else than dream all day, did we not know that such is the normal condition of the bright-eyed witches of the Welsh valleys. From the wheat and poppy in her broad-brimmed, woefully[sic]-dilapidated, slouched hat it is also quite evident that she has not all day been unmindful of her personal appearance, and that she may be something of a coquette, frank and naive as she looks. It is, however, still more likely that the little bit of finery of Nature's own supplying was intended to catch the eye of some one not far even now from her wandering fancies'. From "Illustrated London News", 1862. The Day Dream, by J. Hill, in the Exhibition of the Society of British Artists, 1862. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 595253168
WHAT I SAW IN THE FIRE - DRAWN BY A. CROWQUILL, 1861. ILLUSTRATION TO A POEM BY A. C-RAMBO, (PROBABLY A PSEUDONYM OF CROWQUILL'S AS WELL AS AN ALLUSION TO THE POPULAR VICTORIAN GAME DUMBO CRAMBO). 'WHEN DOZING BY MY CHRISTMAS FIRE, I'D DINED; AND FEELING
What I saw in the fire - drawn by A. Crowquill, 1861. Creator: Mason Jackson. What I saw in the fire - drawn by A. Crowquill, 1861. Illustration to a poem by A. C-Rambo, (probably a pseudonym of Crowquill's as well as an allusion to the popular Victorian game Dumbo Crambo). 'When dozing by my Christmas fire, I'd dined; And feeling just for forty winks Inclined To while the time away...When all at once amidst the glowing coal I saw strange faces - stern, fantastic, droll; Bright fairies, gnomes, and witches of the night; Kings, ladies, sprites, all marshalled in the light; Next frowning rocks, with castles on the top, That blazed, and fumed, and spat, but did not stop Crashing And dashing. Castles and people, all the funny souls, Tumbled pell-mell amidst the burning coals... Then strange The change 1 And the de'bris, You'd see, Pick itself out of all the danger. Turning at once to something, wilder, stranger, There was such piecing, And increasing. Hundreds were there: I counted every one. Such heads and faces, Not to mention graces!...[I] seized the poker straight, And started all the phantoms from the grate, Resolving just to try if mem'ry could Produce the fantasy again on wood. So, here it is; but really, on the whole, The great idea was better in the coal'. From "Illustrated London News", 1861. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
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