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| Richard Dadd (1817-1886) British; Surrealism Framed Etching, (6.0" x 9-3/4") |
Artist:
Richard Dadd (1817-1886) British
Title:
"Midnight Summer Dream"
Date:
(To Be Determined)
Medium: Surrealism
Materials: Etching
Markings: Label on back of artwork
noting Artist, Medium and Provence
Dimensions: 6.0” x 9-3/4”
Framed:
Yes, item has remained within the original frame when acquired by Mr. Prince and Mr. Hemphill,
Jr.;
Inventory
No: NAPT.1999.000057
Provenance : Neal Prince Trust u/a/d 10.18.1999
Mr. Neal A. Prince
Mr. Neal A.
Prince and Mr. Herbert Waide Hemphill, Jr.
Roy
Davis Galleries, 231 East 60th Street, New York, New
York 10022
Footnoteč: This item is part of Mr. Prince's Collection
from the Surrealism movement.
Museums and Public Art Galleries that hold said Artist works:
Art Institute of Chicago Bethlem Royal Hospital Museum and Art Gallery Fine Arts Museums of San Francisco J. Paul Getty Museum Richard Dadd at the Louvre Museum National Galleries of Scotland Ashmolean Museum at the University of Oxford Courtauld Institute of Art Harvard University Art Museums National Portrait Gallery Tate Gallery Richard Dadd at the The British Museum The Huntington Library Victoria and Albert Museum Catalogue
DADD, Richard (1817-1886), British
Mr. Dadd was
born in 1817 in England. Insanity today is considered primarily a medical problem. But over the centuries the
notion persisted that the mad were afflicted by God - and that along with this affliction went preternatural vision. The 19th
Century painter Richard Dadd had the fortune - as well as the misfortune - to embody the two definitions. His talent blossomed
in an insane asylum. Yet his masterpiece, The Fairy Feller's Masterstroke, combines Boschian mystery with Alice-in-Wonderland fantasy in a way that makes it clear Dadd was a prophet of Surrealism. The son of a
London chemist, Dadd was born in 1817 and studied at the schools of the Royal Academy of Arts,
where teachers cited him for his attention, good temper and diligence rather than for his talent. By the time he was 25, he
had begun to paint canvases illustrating old English legends of the "little people"; these early canvases could have been
produced by any competent illustrator. But during a trip to the Near East in 1842, Dadd
began to have strange visions. After scaling the pyramids and strolling through bazaars, he wrote a friend, "I have lain down
at night with my imagination so full of wild vagaries that I have doubted my own sanity." In Rome, he watched the Pope passing in a street procession and was seized by a wild urge to
assault him on the spot. After returning to England, he confided to friends that he felt "the Great Fiend" was pursuing him. His worried
father took him to the country for a rest. White the pair was strolling after supper, Richard Dadd turned on his father and
stabbed him through the heart. Dadd fled to France, but was arrested when he stabbed a fellow passenger in a diligence going to Fontainebleau. He was committed to London's historic
Hospital of St. Mary of Bethlehem, which has given its name to the language as "bedlam" (a Middle English variant of "Bethlehem"). In 1844, Bethlehem was bedlam indeed. Gentlefolk considered it a sport to come out to watch the inmates. Obstreperous patients
were judiciously starved or given violent purgatives to keep them submissive. Deaths from overdoses of opiates were common.
Dadd survived this hell for six years. In 1852, Dr. William Hood, a pioneer in England of modern mental therapy, was assigned to Bethlehem. Dr. Hood encouraged Dadd to take up brush and pencil once again. Dr. Hood's hospital steward, George Henry
Haydon, was an amateur artist and encouraged Richard Dadd further. Dadd dedicated The Fairy Feller's Masterstroke to
Haydon, gave it to him before he died at the age of 67 in 1886.
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