Richard Dadd ’s The Fairy Feller’s Master-Stroke, a highlight of the retrospective at the Royal Academy (until 25 October), seems reluctant to give up its secrets. The lighting is crepuscular; tall grass stems stripe the foreground; veined, juicy-looking leaves curtain off the top-right corner. The eye is caught at first by pale daisies that stud the darkness. But peer...
Beyond Bedlam sets out to show that there is more to Richard Dadd than the mad artist away with the fairies. Had he not been an inmate of Bedlam then Broadmoor, isolated from other artists and the pressures of the market and contemporary taste, he would have been, perhaps, a Pre-Raphaelite. Instead, he pursued his own course, developing a visionary style laden with mysterious personal symbolism and private jokes.