Dark Classics

Lovis Corinth, Cain (Kain)

2013-05-22T09:37:00.000+02:00

Kunstmuseum, Düsseldorf

Date: 1917
Technique: Oil on canvas, 140 x 115 cm

Source

Lovis Corinth, The Blinded Samson

2013-05-22T09:18:00.000+02:00

Alte Nationalgalerie, Berlin

Date: 1912
Technique: Oil on canvas, 105 x 130 cm

Source

Sven Richard Bergh, Hypnotic séance (Hypnotisk seans)

2013-05-21T08:59:00.000+02:00

Nationalmuseum, Stockholm

Date: 1887
Technique: Oil on canvas

Source

Jaroslav Čermák, Montenegrin Refugees Returning to their Village

2013-05-20T16:47:00.000+02:00

Private collection

Date: 1877
Technique: Oil on canvas, 133.5 x 189 cm

Source

Gaston La Touche, Esprits Nocturnes

2013-05-19T10:16:00.000+02:00

Private collection

Date: 1897
Technique: Pastel on paper laid on canvas, 99.5 x 99.5 cm

Source

Georges Antoine Rochegrosse, Charles Baudelaire

2013-05-17T03:36:00.000+02:00

Brown University Library, Providence

Date: 1917
Technique: Engraving, 18.1 x 12.3 cm

Frontispiece to Les fleurs du mal.
Engraver: Eugène Decisy

Source

Stanisław Ignacy Witkiewicz (Witkacy), Portrait of Nena Stachurska (Portret Neny Stachurskiej)

2013-05-14T00:31:00.000+02:00

Muzeum Narodowe, Poznań

Date: 1929
Technique: Pastel on paper, 65.5 x 50 cm

Source

Stanisław Ignacy Witkiewicz (Witkacy), Portrait of Maria Nawrocka (Portret Marii Nawrockiej)

2013-05-14T00:21:00.000+02:00

Muzeum Pomorza Środkowego, Słupsk

Date: 1929
Technique: Pastel on paper, 64 x 47 cm

Source

James William Carling, Illustration for ''The Raven'' by Edgar Allan Poe

2013-05-12T06:26:00.001+02:00

Date: 1880's
Technique: Wash drawing

Source

Georges Jules Victor Clairin, The Goddess Neith (La déesse Neith)

2013-05-09T10:58:00.001+02:00

Private collection

Date: Unknown
Technique: Oil on canvas, 139.5 x 96.5 cm

Source 1
Source 2

Konstantin Makovsky, Mermaids (Русалки)

2013-05-08T10:15:00.000+02:00

Date: 1879
Technique: Unknown

Source

Odilon Redon, The Black Torches

2013-05-06T09:57:00.000+02:00

Royal Library of Belgium, Brussels

Date: 1889
Technique: Charcoal on paper

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Tavik František Šimon, Oxford Circus

2013-05-02T19:47:00.000+02:00

Date: Unknown
Technique: Colour etching, 195 x 270 mm

Source

Mikalojus Konstantinas Čiurlionis, Funeral Simphony V (Laidotuvių simfonija V)

2013-04-30T09:53:00.000+02:00

Date: 1903
Technique: Pastel on paper, 73 x 62 cm

From The cycle of seven paintings Funeral Simphony

Source 1
Source 2

Unidentified artist, A Skeleton as a Woman Wearing a Brown and Red Dress and a Black Headdress

2013-04-29T16:53:00.000+02:00

Wellcome Library, London

Date: c. 1680
Technique: Oil on canvas, 174 x 73 cm

Source

John Duncan, The Taking of Excalibur

2013-04-29T10:59:00.000+02:00

Date: c. 1897
Technique: Unknown

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Albert Bredow, Procession on a Snowy Monastery (Prozession an einer verschneiten Klosteranlage)

2013-04-28T17:08:00.000+02:00

Private collection

Date: 1887
Technique: Oil on canvas, 142 x 98 cm

Source

Aubrey Beardsley, Decorative Study: Satyr

2013-04-24T15:27:00.000+02:00

Art Institute of Chicago

Date: 1892-98
Technique: Pen and black ink, with brush and black wash, over traces of graphite, on ivory wove paper, 124 x 87 mm

Source

Eugène Grasset, La Morphiniste

2013-04-24T15:01:00.001+02:00

Date: 1897
Technique: Unknown

Source

Maurice Greiffenhagen, Mermaid

2013-04-23T11:47:00.000+02:00

Paisley Museum and Art Gallery

Date: Unknown
Technique: Oil on canvas, 100 x 100 cm

Source

William Holman Hunt, The Ponte Vecchio, Florence

2013-04-19T09:26:00.000+02:00

Victoria and Albert Museum, London

Date: 1867
Technique: Watercolour and bodycolour on paper

Source

Domenicus van (Ascanius) Wynen, A Scene of Sorcery

2013-04-18T20:19:00.000+02:00

Private collection

Date: c. 1685
Technique: Oil on canvas, 73 x 57 cm

Painting juxtaposes real and supernatural characters in a nocturnal scene taking place on the outskirts of a village. At the left of the composition, a woman accompanies an adolescent, who seems unable to see her. She holds a book in one hand and a stick in the other. A lion, symbol of courage, stands next to her naked feet. This woman likely represents an allegory of power, thus characterising youth.

The rest of the composition contains an ensemble of elements clearly pertaining to the world of sorcery. Indeed, death and love are in question here. Evil spirits, a demon holding a mirror off to the right, and the Devil, in the form of an old woman on a billy goat that dominates the scene, all feature. A pact has seemingly been made with the Devil: the protagonist has sold his soul for eternity, in exchange for a temporary allocation of his power. The central scene represents, in all probability, the Devil himself who comes to claim the soul of the hanged man, which passes through a ring - symbol of eternity - placed above the gallows.

Other elements holding traces of sorcery are represented here: the fire in the centre of the scene, a symbol of physical, moral and mystical transmutation. Close to the fire we find a cat, servant of the underworld, as well as a sleeping baby, often victims of sorcery.

The key to the narrative probably lies in the group of figures to the right in the foreground. A young woman, seen from behind and half-dressed in fine cloth and animal skins, and the corpse of a young man, act as a repoussoir, a device often used by Van Wijnen. The face of the young woman reappears on the mirror held by the young man in armour beside her. This young woman, with a fly on her back and a snake in her hand, must incarnate the evil triggered by the fall of the man. The armour symbolises resistance, but this man cannot resist being seduced by the young woman. There is a spell being cast, for a demon is holding the mirror for him. The scene reflects a dark vision of man at the mercy of the charms of women, perceived as dangerous.

Source

David Ryckaert III, Dulle Griet

2013-04-18T09:43:00.000+02:00

Kunsthistorisches Museum, Vienna

Date: 1651-59
Technique: Oil on oakwood, 47.5 x 63 cm

Source

Cornelis Saftleven, Witch's Tavern

2013-04-17T09:55:00.000+02:00

Date: 17th century
Technique: Unknown

Source

Giotto di Bondone, The Seven Vices - Envy

2013-04-16T10:00:00.000+02:00

Cappella degli Scrovegni (Arena Chapel), Padua

Date: 1306
Technique: Fresco, 120 x 55 cm

Source