Art: Richard Dadd: Beyond Bedlam at the RA

I went to see Richard Dadd exhibition that’s currently on at the Royal Academy of Arts. The Victorian artist is best known for his fairy scenes drawn from Shakespearean subjects, but he also depicted pagan subjects and believed ancient mythology was still relevant.

Recognised early for his skill at rendering detail, Dadd was invited in 1842 on an ambitious tour across the Eastern Mediterranean that would shape the course of his life and work. The experience had a profound influence on his artistic imagination, but the itinerary was rushed and Dadd began experiencing delusions. On his return to England, he killed his father, believing his true father to be the Egyptian God Osiris, and fled to France where he was apprehended. He spent the remaining four decades of his life in hospitals – first at Clermont north of Paris, then at Bethlem in Lambeth and finally at Broadmoor in Berkshire. During this time, he continued to work from memory, imagination and earlier sketches.

What I found particularly interesting was that Dadd could be said to have held pagan beliefs beyond his delusions about his father. For example, one of the pictures in the exhibition, Esculapius Discovered by Shepherds on the Mountain (pictured), was done as a nativity scene, but instead of showing the birth of Jesus, shows that of the Greek God of medicine Aesculapius, which was also attended by shepherds according to legends. Information next to the painting reads:

“Dadd was convinced that nothing of importance had changed since the times of the great ancient  civilisations, the remains of which he had encountered on his travels. He saw all human history as cycling back to these founding cultures.”

In his early life, after studying at the Royal Academy, Dadd made his name by exhibiting his fairy paintings, which reveal his mastery of elaborate detail and evocation of the uncanny. He continued to work while at Bethlem and Broadmoor Hospitals. At Bethlem, he returned to the Shakespearean fairy subjects of his youth, and produced some of his most celebrated works, including Contradiction. Oberon and Titania, 1854-58, and The Fairy Feller’s Master-Stroke, 1855-64. 

Richard Dadd: Beyond Bedlam is on until 25 October at the Royal Academy, Burlington House, Piccadilly, London, W1J 0BD Tickets are £15. https://www.royalacademy.org.uk/

Photos: Richard Dadd, Contradiction. Oberon and Titania, 1854-58. Oil on canvas, 61 x 75.5 cm. Private Collection. Photo © David Parmiter; Richard Dadd, Esculapius Discovered by Shepherds on the Mountain (1851); Richard Dadd, The Fairy Feller’s Master-Stroke, 1855-64. Oil on canvas, 54 x 39.4 cm. Tate: Presented by Siegfried Sassoon in memory of his friend and fellow officer Julian Dadd, a great-nephew of the artist, and of his two brothers who gave their lives in the First World War 1963. Photo: Tate

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