dark academia

old books, castles, flowers and academia aesthetics | as far i know: no IA

[mahoganyamore]

i look for you everywhere i go

[cultofthedarksun]

Sirens by Sascha Schneider

[cultofthedarksun]

Georges Antoine Rochegrosse

[sentimentalbeing2001]

[midnightinshadow]

[midnightinshadow]

[midnightinshadow]

[aesthyr]

The Black Sea at night (1879) Ivan Aivazovski

[aesthyr]

«The Eclipse of the Sun in Venice» (1842) Ippolito Caffi

[aesthyr]

«Italian Moonlight, Rome, St. Peter's Church in the Moonlight» (1833) Carl Gustav Carus

[aesthyr]

«Ophélie» (1887) by Alfred Stevens

Depicts the tragic Shakespearean heroine from Hamlet wandering toward the river to drown, driven insane by the murder of her father. The painting serves as a dramatic, theatrical representation of grief, forsaken love, and descent into madness.

Unlike many of his contemporaries, who painted Ophelia floating lifelessly in the water, Stevens chose to depict her on land just moments before her drowning. This choice was heavily influenced by his close friendship with the legendary French actress Sarah Bernhardt. Bernhardt, who took painting and sculpture lessons from Stevens, lent him theatrical props — including the dress and jewelry worn in her own productions of Hamlet — which he used to costume his subject.

Because of Stevens’ deep fascination with the stage, the painting is composed like a scene unfolding in a theater. Ophelia is dramatically lit and stands isolated in front of an elaborate backdrop, appearing as though she is performing before an audience. While Stevens is best known for painting wealthy, fashionable Parisian women in modern interiors, this work dips into Symbolism and literary themes.

Ophelia is strewn with various flowers, serving as a symbolic figure. The inclusion of specific flowers — a hallmark of Ophelia’s story in Shakespeare’s play — carries traditional Victorian meanings associated with innocence, pain, and forsaken love. Ultimately, Stevens’ Ophélie acts as an homage to both Shakespeare’s tragic muse and the captivating dramatic performances of the 19th-century stage.

Text by ©7pleiades7

[aesthyr]

«The Fifth Plague of Egypt» (1800), by J. M. W. Turner

[aesthyr]

«Salzburg from a Romanesque Loggia» (1850), by Georg Pezolt

[venustapolis]

A Southern Landscape with Ruins of an Antique Temple (Ferdinand Knab, 1834 - 1902)

[aesthyr]

«Ferdinand II of Sicily in the Catacombs of San Gennaro» (1835), by Beniamino De Francesco

[aesthyr]

«Il rifiuto è sempre stato un gesto essenziale. I santi, gli eremiti, ma anche gli intellettuali, il piccolo numero di uomini che hanno fatto la storia sono quelli che hanno detto no, e non i cortigiani e i servi dei cardinali.»

—

«Refusal has always been an essential gesture. Saints, hermits, but also intellectuals—the small number of people who have made history—are those who have said no, not the courtiers and the servants of cardinals.»

— Pier Paolo Pasolini, interview with Furio Colombo, La Stampa, November 8, 1975

[aesthyr]

Thomas Cole (1801 - 1848)