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
"Faeries are seen through the heart, not through the eyes. Remember that faeries inhabit the interior of the earth and the interior of all things, so look, in the first place, in the interior of yourself."
See the complete book here.
FAIRIES learn to dance before they learn to
Fairies learn to sing before they learn to
Fairies learn their counting from the cuckoo’s
They do not learn Geography at all.
Fairies go a-riding with witches on their
And steal away the rainbows to brighten up
their rooms ;
Fairies like a sky-dance better than a
They have a birthday once a week at
Fairies think the rain as pretty as the sun ;
Fairies think that trespass-boards are only
made for fun ;
Fairies think that peppermint’s the nicest
thing they know ;
I always take a packet when I go.