xt7qjq0stw34_5331 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/mets.xml https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474.dao.xml unknown archival material 1997ms474 English University of Kentucky The physical rights to the materials in this collection are held by the University of Kentucky Special Collections Research Center.  Contact the Special Collections Research Center for information regarding rights and use of this collection. W. Hugh Peal manuscript collection Richard Dadd letter to sir, with clippings text 43.94 Cubic Feet 86 boxes, 4 oversize boxes, 22 items Poor-Good Peal accession no. 11453. Richard Dadd letter to sir, with clippings 2017 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474/Box_61/Folder_92/Multipage28275.pdf [1845 May], undated 1845 [1845 May], undated section false xt7qjq0stw34_5331 xt7qjq0stw34 EAL Mmz%g@ /,.

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 VI .
Mackay, age 4.

 

ARTIST SHUT
UP IN

BROADMOOR.

INSANE GENIUS WHO
KILLED FATHER.

On a screen in the water-colour
gallerles at the Victoria and Al-
bert Museum hang three delicate
and curious drawings before which
visitors frequently pause in admiration.
Few, however, know the tragic fate of
the artist, Richard Dadd.

He affords one of those instances of
genius allied to madness, for in a fit of
insanity he killed his father and was
shut up in Broadmoor Asylum. ’

In the same galleries there are speci-

mens of the work of two other well-
known British artists who went mad—
the poetic drawings of J. R. Cozens,
who died insane in 1797. and Clennell,
another fine water-colourist of a few
years later.
_ The hundreds of drawings contained
in these galleries are representative of
English water-colour painting from its
earliest days (about the middle of the
18th century) up to the present time.
Here Is to be seen, for instance, a View
of old London, the “Bayswater Road”
(1793) by Paul Sandby, R.A., who was
one of the “ fathers” of English
water-colour art. It shows the wall of
Hyde Park and a group of soldiers rest-
ing at a public-house somewhere near
Lancaster _Gate, while a maid lights a
carter‘s pipe with a candle. There
were no matches in those days.

.. NIGHT CLUB” SCENE.

0n.a screen is the ori inal cra on
drawmg by J. R. Smith forg the engiilav-
mg of” the “Promenade at Carlisle
House —a sort _of night club of the
day. The engravmgs from this drawing
fetch hundreds of pounds a-piece.

_'1‘ur_ner’s friend, Thomas Girtin, who
died in 1802 at the age of 27, was one
of the greatest water-colour artists. In
a wall—case you may see his “Porte St.
Denis, Paris” and his “ Kirkstall Abbey
—Evenmg —the latter is one of the
noblest landscapes in the museum.

Among later artists should be noticed
Eroderick Walker’s “Spring” and

Autumn.” The former fetched £2,000
at Christie’s, a record for any water-
colour now in the museum.

Do not forget that the galleries do
not close till 9 pm. on Thursdays and
Saturdays, and be sure to open the
wall-cases when you go, for they cont
tam some of the best drawings.
a

 

 

 

 

, "(p/Ls! ’g/ 4:; .

RICHARD DADD./—It is not generally known
that this unhappy young man is at present in Bed-
lam, having been removed to that hospital from
Maidstonc. He is in good health; and we have
lately seen some drawings recently executed by
him, which exhibit all the power, fancy, and judg-
ment for which his works were eminent previous
to his insanity. They are absolutely wonderful in
delicate finish. They consist principally of land-
scapes—memories of eastern scenes, or wrought
from a small sketch-book in his possession. One
is, however, of an avenue of close box-trees, tor—
minatcd by the tall gate of a mansion. It is a
marvellous production—such as scarcely any of our
living painters could surpass. This drawing was,
we believe, produced within the last few weeks.
Two or three of his productions indicate the state
of his mind. One describes a castle shattered by
lightning: underneath is written “ The wrath of
God.” Others contain brief written descriptions
(on the backs) in oddly-mingled French and Eng-
lish. A short time ago one of poor Dadd’s early
artist acquaintances happened to be passing
through the ward, with a portfolio under his arm.
It was his intention to have avoided recognition.
Dadd, howevcr, saw and beckoned to him; and,
on his approaching, said, “‘Vhat brings you here;
have you killed anybody i” He then requested to
examine the contents of his portfolio, and went
carefully and critically through the several draw-
ings, pointing out defects and merits in each with
singular judgment and accuracy. He continues
vcry reserved, holding little conversation, and
seeming to shun, as far as possible, all intercourse
with mankind. A few weeks ago one of his most
intimate friends visited him. He refused at first to
see him; and when the keeper introduced him by
saying, “Surely he is one of your friends,” poor
Dadd turned away, shrugged his shoulders, merely
uttering the word “Friends!” On the whole,
however, he cannot be said to be unhappy; for,
although he by no means forgets his father’s
death, he continues under the full conviction that
he was a fiend by whom he was persecuted. Yet
this seems to be the only delusion under which he

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