The story of Richard Dadd (1817–1886) is one of the most extraordinary and tragic in British art. A prodigiously talented painter whose gifts were recognised from an early age, Dadd’s promising career was shattered by a psychotic episode in which he murdered his father. He spent the remainder of his life in asylums, where, remarkably, he continued to draw and paint, producing some of the most intricate and imaginative works of the Victorian era. For too long, Dadd has been defined by the shocking act that led to his confinement. The great achievement of this exhibition, his first major survey since the 1970s, is to redirect attention to what matters most: the art itself. Dadd is best known for his intricate fairy paintings, populated by mythical creatures, spirits and fantastical landscapes. His masterpiece, The Fairy Feller’s Master-Stroke, the result of almost nine years' work, remains one of the most astonishing achievements of Victorian painting. Its miniature world of fairies gathered around a woodcutter preparing to split a hazelnut reveals meticulous attention to detail and a universe that is both enchanting and unsettling. Every figure, plant and texture invites close inspection. The influence of Hieronymus Bosch can be felt in Dadd’s crowded compositions and fascination with strange, hybrid forms. Like Bosch, he created images that are simultaneously beautiful, disturbing and filled with unanswered questions. His paintings reward patience; the longer one looks, the more they reveal. Among the exhibition’s highlights is The Flight out of Egypt (1849–1850), a work remarkable for both its technical brilliance and psychological complexity. The Holy Family occupies a surprisingly marginal position in the lower right corner, while a multitude of figures fill the surrounding space. The strange expressions, wandering gazes and intricate details create a sense of mystery, as though several narratives are unfolding at once. Titania Sleeping (1841) is another striking example of Dadd’s imagination. Inspired by Shakespeare, the painting surrounds the sleeping fairy queen with bizarre, fantastical figures emerging around the cave opening. The combination of delicate beauty and unsettling fantasy demonstrates his ability to make the familiar feel profoundly strange. The exhibition also reveals Dadd’s mastery beyond his famous fairy scenes. His watercolour Still-life with Gooseberries, Raspberries, Red Currants, a Gherkin and Foliage (1874) is a quiet triumph. The precision of the leaves, fruit and textures shows an artist whose powers of observation were as remarkable as his imagination. It is a reminder that Dadd was not simply a painter of fantasy but a superb craftsman capable of extraordinary realism. The temptation with Richard Dadd is to see his work through the lens of his biography. This exhibition wisely resists that approach. What remains is the work of an artist of rare vision, obsessive, unsettling and unforgettable. This is a thoughtful reassessment of a painter whose reputation deserves to rest not on the tragedy of his life, but on the an artist of rare vision, obsessive, unsettling and unforgettable.
Rated: ★★★★
Reviewed by J.C.
Image: Richard Dadd, Contradiction. Oberon and Titania, 1854-58. Oil on canvas, 61 x 75.5 cm. Private Collection. Photo © David Parmiter
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