The humble beast of burden, carrying drunken kings, Mary and the infant Jesus, the Good Samaritan, Sancho Panza, and young lambs.
Blake
Essential pigments for the landscape artist: green earths, malachite, verdigris, copper resinate, Prussian green, viridian, and emerald green.
The primary attribute of Iris, with the soothing song of Amphitrite, bearing the Norse deities to Valhalla, the sign of God’s covenant after the Flood, and at the Last Judgement.
Although conflated with another Mary, she features in her own right in paintings of the Deposition, as Myrrhbearer, and Noli me tangere.
Henry Fuseli, Ary Scheffer, Botticelli, William Blake and other artists paint the ghosts in Shakespeare’s plays and other literary sources.
Wielded by the Etruscan god of death Charun, Hephaistos or Vulcan, Jael as she killed Sisera, those who nailed Christ to the cross, and the Norse god Thor.
Dogs guarding the underworld, attributes of Diana, discovering Tyrian purple, gathering scraps under the Last Supper, and telling part of the story.
Paintings from Rembrandt’s second version to Cézanne and Franz von Stuck show the triumph of privileged male power.
More gold grain crops and sunsets from Samuel Palmer and his mentor John Linnell during the middle of the nineteenth century.
Gold of ripe grain crops and gold of rich sunsets are distinctive of the paintings of Samuel Palmer and his mentor John Linnell. Here are works from Palmer’s time at Shoreham.
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