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Art from the distant past can appear surreal to the modern eye. Dragons and demons populate ancient frescos and medieval triptychs. Italian Renaissance painter Giuseppe Arcimboldo (1527–1593) used trompe l’oeil effects ("fool the eye") to depict human faces made of fruit, flowers, insects, or fish. The Netherlandish artist Hieronymus Bosch (c. 1450–1516) turned barnyard animals and household objects into terrifying monsters. Twentieth-century surrealists praised "The Garden of Earthly Delights" and called Bosch their predecessor. Surrealist artist Salvador Dalí (1904–1989) may have imitated Bosch when he painted the odd, face-shaped rock formation in his shockingly erotic masterpiece, "The Great Masturbator." However, the creepy images Bosch painted are not surrealist in the modern sense. It’s likely that Bosch aimed to teach Biblical lessons rather than to explore dark corners of his psyche.
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Never one for disguising his emotions, Robert Schumann wore his heart on his sleeve and his music reflects his joy at being alive – and of being in love. His Fantasie in C, composed in 1836, is a remarkable display of soul-bearing, a piece imbued with passionate and unresolved longing, and the heart-fluttering panoply of emotions from ecstasy to agony which being in love provokes. It was written during a particularly long separation from his beloved Clara Wieck, at a time when their future together was far from certain.
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