Coffee for the moon

Windflowers, by John William Waterhouse (1902), oil on canvas.

In the painting, Julie appears simultaneously in profile and facing forward through the strategic use of a mirror—an intentionally impossible construction that challenges conventional perspective. This dual image not only demonstrates the artist’s technical sophistication but also engages with longstanding artistic traditions. It recalls allegorical representations of Sight and participates in Enlightenment-era debates about perception, truth, and illusion in painting. The mirror becomes more than a compositional device; it serves as a philosophical tool, inviting viewers to question what is seen and what is real, while also reinforcing the painter’s command over visual deception and narrative complexity.

"La Somnambule", by Edouard Rosset-Granger (French, b. 1853).

Dantan's works followed the academic tradition of painting, and were praised by his contemporaries. His technical mastery is illustrated by such paintings as Un coin d'atelier (1880), where he depicts his father working on a bas-relief in his studio, seen from behind. The studio is cluttered with paintings and sculptures. In the foreground, a nude woman is taking a break from modelling. A critic praised the painting for following all the rules of trompe-l'oeil and stereoscopic photography.

― Oscar Wilde

"Light catcher" (2012) by Helene Beland.

St. Theophan the Recluse

Pinacoteca di Brera.

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