Without and Within: Victorian Mourning and Treatment of the DeadMain MenuFleeing Death: Victorian Paranoia Concerning Public HealthFirst SectionDying Well and Loved: At the Moment of Death and MourningSecond SectionWearing and Burying Death: Fashion, Mourning, and Public Displays of DeathThird SectionUp and Down the Stair with Burke and Hare: Body-SnatchingFourth SectionWeird Science: Anatomical Use of the DeadFifth SectionWorks Cited/Full-Texts/Further ReadingsKyle Brett425ed005fc457ac8e436783036f285b42b192fb4
La Autopsia
12016-12-12T08:04:40-05:00Kyle Brett425ed005fc457ac8e436783036f285b42b192fb4582Painted in 1890 by Enrique Simonetplain2016-12-12T08:05:24-05:00Kyle Brett425ed005fc457ac8e436783036f285b42b192fb4
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12016-11-27T10:54:41-05:00La Autopsia8plain2016-12-13T13:32:22-05:00 Painted in 1890 by Enrique Simonet, this image showcases the infatuation, beauty, and intrigue of the dead and the internal components of the human body. Here a dissectionist stands over a romanticized female corpse, studying her heart. I argue that Simonet allows the dead to retain a level of subjectivity. She is vibrant, given color by both her hair and the single source of light from the window. There is a life on the table, not an object to be commanded or used. Her sacrifice, her death, is noble and the stoic representation of the dissectionist reflects the solemnity of the act.
