Abstract
The great visionary painters and imaginative illustrators of the past 130 years—luminaries as diverse as John Tenniel, Moritz von Schwind, the Pre-Raphaelites Dante Gabriel Rossetti and Edward Burne-Jones, N. C. Wyeth, Heinrich Kley, Arthur Rackham, Randolph Caldecott, Frank R. Paul, Joseph Clement Coll, Virgil Finlay, H. R. Giger, Francis Bacon, Fritz Eichenberg, Maurice Sendak, Chris Van Allsburg, Frank Frazetta, Kevin O’Neill, and Joseph Mugnaini—owe much to the pioneering fantastic visions and grotesque nightmares of a generation of artists emerging around the middle of the eighteenth century, including William Hogarth (1697–1764), Henry Fuseli (1741–1825), William Blake (1757–1827), John Martin (1789–1854), and Gustave Doré (1832–1883).
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Notes
To date the definitive treatment of the tragic story of Barrie and his “lost boys” is Andrew Birkin, J. M. Barrie & the Lost Boys (New York: Clarkson N. Potter, 1979); and concerning the inception of the various incarnations on stage, screen, and in literature, see Roger Lancelyn Green, Fifty Years of Peter Pan.
See Morton N. Cohen’s Lewis Carroll: A Biography (1995) for the definitive discussion of the troubled relationship between Charles Lutwidge Dodgson and the Liddell family, particularly Alice. Despite the magic moments they shared in 1862, which blossomed into the first “Alice” book, she and Dodgson quickly grew disillusioned with each other and rarely spoke. She was a lonely, sad woman of 80 when she came to New York as a guest of Columbia University on the occasion of Dodgson’s centenary celebration. It marked the first time in decades that she publicly spoke of him (519–523). This incident was dramatized in Gavin Millar’s film, Dream Child (1995), starring Coral Browne as Alice Liddell Hargreaves.
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© 2011 John C. Tibbetts
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Tibbetts, J.C. (2011). The Extravagant Gaze. In: The Gothic Imagination. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230337961_6
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DOI: https://doi.org/10.1057/9780230337961_6
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