Crivelli’s Annunciation | J.G. Ballard

I am sure that a large part of the enduring mystery of the Renaissance masterpieces in the National Gallery was due to the absence of the explanatory matter that now drains away much of the strangeness and poetry of the Old Masters. I would stare at Crivelli’s Annunciation, charmed by the peacocks, loaves of bread and other incongruous items, the passer-by reading a book on the bridge and the Virgin in her jewel box of a house. I was forced to use my own imagination to stitch these elements into a master narrative that made some kind of sense, rather than read an extended wall caption and be solemnly told that the peacock was a symbol of eternal life. Perish the thought, and let the exquisite bird be itself, and nothing more or less than itself. What could be more natural, and more mysterious, than a peacock and a loaf of bread appearing on the scene to celebrate the forthcoming birth of the Saviour?

From J.G. Ballard’s autobiography Miracles of Life.

The Hurdy-Gurdy Player — Georges de la Tour

Judith and Her Maidservant — Artemisia Gentileschi

Three Dishes of Sweetmeats and Chestnuts with Three Glasses on a Table — Osias Beert

So, How Is Your Appetite, Troll Mother Continued — John Bauer

Illustration for Orlando Furioso — Gustave Doré

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The Willy Grasser — Sidney Sime

Title/s: 'Bogus Beast, The Wily Grasser' Maker/s: Sime, Sidney Herbert (draughtsman) [ULAN info: British artist, 1867] Technique Description: pen and Indian ink with grey wash on paper, stuck down on card Dimensions: height: 227 mm, width: 168 mm

Minamoto no Yorimitsu Preparing to Kill the Earth Spider — Tsukioka Yoshitoshi

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Fête nationale — Theophile Steinlen

Pluto — Agostino Carracci

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The Fourteenth of July at Etretat — Felix Vallotton

Leocadia — Francisco Goya

Dazzling/Clever — Norton Juster

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From The Dot and the Line, 1963, by Norton Juster. More/via The Visual Telling of Stories.

Girl at the Window — Ferdinand Hodler

The Chemist — Franz Sedlacek

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Girl with Tilted Head — Egon Schiele

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