Kein Licht ohne Schatten.

Louise, the artists wife, on her Deathbed

Paul Delaroche - The Young Martyr (1855)

Never Let Go by ReyeD33

Never Let Go by ReyeD33

there’s something about using her own blood mixed with the blood of others that gets her in a tizzy. she knows she’s not evil…but for some reason, she just can’t bring herself to rebuke the gasps of astounded people as she plunges her hands into the rivers flowing from their bodies and gorges herself on the magic that comes from using their blood…

B E A U T Y | part III | ◊

Wilfried Sätty

The grotesque, the gloomy, the morbid, the fantastic-the American Dark Romantics embraced all of these illogical elements and shaped them into perhaps the most popular sub-genre of American literature. While the Romantics believed reality to be pale and empty, the Dark Romantics thought quite the opposite. Life to the Dark Romantics was colorful, capricious, and contradictory. Unlike the Romantics, the Dark Romantics acknowledged the evil of man and the horror of evil. Like the Romantics and Transcendentalists, however, the Dark Romantics valued intuition and emotion over logic and reason and saw symbols, spiritual truths, and signs in nature and everyday events. [x]

Walking down a beaten path, the moon was all that illuminated his footsteps. An eerie fog sifted through his line of vision as thunder cracked in the distance and reverberated back to him through charred tree trunks and their once sturdy limbs now succumbing to years of abuse; some falling to the...

A dirge for her the doubly dead in that she died so young.

Edgar Allan Poe, Imitation (1827)

He compared his art to poetry, saying, “The artist who only copies nature becomes a slave to nature. The motions of live elements are imperceptible to a brush: painting lightning, a gust of wind or the splash of a wave. The artist must memorize them. The plot of the pictures is composed in my memory, like that of a poet; after doing a sketch on a scrap of paper, I start to work and stay by the canvas until I’ve said everything on it with my brush.”

Meduse ou Vague Furieuse by Lucien Levy-Dhurmer

Henry Fussli, Titania Caresses Bottom with the Donkey’s Head, 1793-94, oil on canvas.  Kunsthaus, Zurich