♪(´ε｀ ) John had found them earlier that week, hidden in the back of their closet, recordings of Sherlock playing the violin. He even went so far as to go buy headphones before listening to them so he wouldn’t get caught. It was definitely worth the wait.
There’s something wonderfully interesting about seeing the work of an artist who took inspiration mainly from a single predecessor—especially when that predecessor had an especially distinctive style.
A single glance at John Melhuish Strudwick’s 1894 O Swallow, Swallow suffices to demonstrate his enormous debt to Edward Burne-Jones, from his impassive, wide-faced subject to her matte brocade dress, hanging in fairly flat folds. Even the shallow, exaggerated-perspective setting points to Burne-Jones’s influence.
As the Sudley House points out, though, the subject “sits in a richly painted, intricately decorated interior awaiting the message from the bird, which is seen through the open window.”
Indeed, there is a sort of happy chaos to her belongings that—especially when paired with the depth and translucency of the subject’s face—departs wholly from Burne-Jones’s simplified and deliberately flattened style.