|Mr Fezziwig's ball, an illustration from A Christmas Carol. |
This image of conviviality is what we've inherited from Dickens' view of Christmas.
Yet it effectively exists only in Scrooge's imagined happy past life.
It's how Scrooge chose, and chooses to respond to this vision that matters.
One of the coloratura highlights, which give a good indication of the rest of the work.
|The ballet of undead satanic nuns from Robert le diable, painting by Edgar Degas (1876). |
From the V&A museum.
|A still from the film All Divided Selves by Luke Fowler, 2011. |
Taken from here.
A fractured documentary on psychiatry is the highlight of a fairly uninspired exhibition.
We are not so very different from the ancient Greeks. Their games were occasions for prizes to both athletes and artists, and despite some ambivalence on our part with regards the latter, we still have things like this prize for visual art.
|Lamentation d'Orphée by Alexandre Séon (1896)|
An innovative prose poem biography that doesn't explain this hero's mysterious appeal.
|Part of the Forest of Dean (UK), apparently the model for Rowling's Pagford.|
According to Robert McCrum in the Guardian.
|Laus Veneris by Burne-Jones. From the Tate website.|
|A detail from Millais' Isabella, taken from here.|
|Ecce Ancilla Domini! (The Annunciation) by Rossetti. |
From the Tate website.
|Requiem (1976), Richard Cragun. Photo © Leslie E. Spatt. From here.|
|Noli me Tangere, by Holbein.|
From the Royal Collection.
|The Temptation of Saint Anthony by Martin Schongauer. |
From the British Museum.
|The Temptation of Saint Anthony by Michelangelo.|
From the Kimbell Art Museum.