Henrique Alvim Corrêa illustrations

Henrique Alvim Corrêa

Henrique Alvim Corréa (1876 – 1910) was a Brazilian illustrator of military and science fiction books. He was born in Rio de Janeiro, and died in Brussels. He is best known for his illustrations of a French translation of H. G. Wells's novel "The War of the Worlds".
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War of the Worlds Illustration, Wrecked Martian Handler, Henrique Corrêa
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War of the Worlds Illustration, Martians Land, Henrique Corrêa
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War of the Worlds Illustration, Martians Head Toward Earth, Henrique Corrêa
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War of the Worlds Illustration, Martians Blast House, Henrique Corrêa
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War of the Worlds Illustration, Martians Attack, Henrique Corrêa
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War of the Worlds Illustration, Martian Viewing Vapor Cloud, Henrique Corrêa
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War of the Worlds Illustration, Martian Viewing Drunken Crowd, Henrique Corrêa
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War of the Worlds Illustration, Martian Viewing Carnage, Henrique Corrêa
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War of the Worlds Illustration, Martian in the Forest, Henrique Corrêa
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War of the Worlds Illustration, Martian Handler, Henrique Corrêa
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War of the Worlds Illustration, Martian Gets the Girl, Henrique Corrêa
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War of the Worlds Illustration, Martian Gas Cannon, Henrique Corrêa
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War of the Worlds Illustration, Martian Flying Machine, Henrique Corrêa
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War of the Worlds Illustration, Martian Fighting Machine Hit by Shell, Henrique Corrêa
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War of the Worlds Illustration, Martian Emerges, Henrique Corrêa
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War of the Worlds Illustration, The arrival of the Martians, Henrique Corrêa
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War of the Worlds Illustration, Humans Dissecting Martian War Machines, Henrique Corrêa
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War of the Worlds Illustration, Handler Grabbing Human, Henrique Corrêa
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War of the Worlds Illustration, Falling Star, Henrique Corrêa
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War of the Worlds Illustration, Death of Curate, Henrique Corrêa
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War of the Worlds Illustration, Dead Martians, Henrique Corrêa
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War of the Worlds Illustration, Abandoned London, Henrique Corrêa
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War of the Worlds Illustration, Martians on the Move, Henrique Alvim Corrêa
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War of the Worlds Illustration, Martian Machine Over the Thames, Henrique Alvim Corrêa
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Joaquín Sorolla Print, Clotilde in evening dress (1910)
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Joaquín Sorolla Print, Children Looking For Shellfish
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Joaquín Sorolla Print, Capturing the moment (1906)
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Joaquín Sorolla Print, Boats On The Shore (1909)
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Joaquín Sorolla Print, Fishing Boats On The Beach, Valencia
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Joaquín Sorolla Print, Greek girls on the shore (1895)
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Joaquín Sorolla Print, Under the awning, on the Beach at Zarauz (1905)
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Joaquín Sorolla Print, The Return From Fishing, Valencia Beach
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Joaquín Sorolla Print, The Basque Port of Guetaria (1910)
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Joaquín Sorolla Print, Sewing the Sail (1896)
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Joaquín Sorolla Print, Playa De Valencia
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Joaquín Sorolla Print, Palace of Charles V, Alcazar of Seville (1908)
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Joaquín Sorolla Print, Palace of Pond, Royal Gardens in Seville (1910)
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Joaquín Sorolla Print, Oleanders, the courtyard of the artist’s home
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Joaquín Sorolla Print, Mother (1895)
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Joaquín Sorolla Print, The Fountain of Horses, La Granja
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Joaquín Sorolla Print, Garden of the Adarves, Alhambra, Granada
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Joaquín Sorolla Print, Garden of the Sorolla House; Reflection in ‘Fountain of Confidences’
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Joaquín Sorolla Print, Hall of the Ambassadors, Alhambra, Granada
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Joaquín Sorolla Print, Drawing in the Sand (1911)
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Corrêa's sketches possess a feverish intensity, rendering Wells's Martian tripods not as distant terrors, but as immediate, visceral threats. His lines tremble with urgency, yet maintain a scientific precision that makes the impossible seem horrifyingly plausible. In one particularly striking image, a tripod looms over London's streets, its tentacles probing between buildings with an unsettling blend of curiosity and malice. The machine's design suggests both an organic and mechanical nature, anticipating the bio-mechanical aesthetic that would later define much of science fiction. The human figures in Corrêa's work appear deliberately small and vulnerable, their bodies often reduced to silhouettes fleeing in terror or lying broken beneath alien machines. This scale serves not only to emphasize the overwhelming might of the invaders but also to capture the psychological diminishment of humanity faced with superior technology – a theme that would resonate deeply with viewers in the coming decades of industrialized conflict. What distinguishes Corrêa's interpretation is his ability to inject Gothic horror elements into what could have been purely scientific illustrations. His tripods don't simply walk; they stalk. They don't merely destroy; they seem to savor their dominion over Earth. The artist's use of shadow and negative space creates an atmosphere of psychological dread that extends beyond the immediate action, suggesting that the true horror lies not in the violence itself, but in humanity's sudden, brutal demotion from master of Earth to prey. Tragically, Corrêa would not live to see his work's influence on science fiction imagery, dying in 1910 at just 34 years of age. Yet his vision of Wells's Martian war machines would prove remarkably prescient, capturing the merciless efficiency of modern warfare years before the first tanks rolled across Europe's battlefields. These illustrations remain powerful not only for their artistic merit but as a testament to art's ability to process and predict our deepest societal fears, rendering the unimaginable in stark, unforgettable detail.