Contributions of the group diptych

The Expression of Emotions

nobody@ipernity.com (Götz Kluge) — Thu, 22 Jan 2015 21:03:18 +0000

To me, the Bellman's arm (upper left corner in the right image) always looked strangely rounded. But obviously there are arms like that. It took me a long time (until today) to get the idea that also these two images could be related although I know Duchenne's photo (shown here in mirror view) since a couple of years.

www.evolutionnews.org/2012/05/creepy_ghoulish059671.html
"Creepy," "ghoulish," "not the best science" -- these are a few indisputable descriptions applied (by Wired magazine) to an experiment Charles Darwin conducted in 1868. He was getting ready to write his book The Expression of the Emotions in Man and Animals and set out to sample reactions from all of 24 human subjects as they responded to and characterized a series of creepy, ghoulish photographs by French physiologist Benjamin Duchenne.

Charles Darwin didn't conduct these weird experiments. Duchenne did.

On the right side you see a detail from Henry Holiday's illustration to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark (1876).

The only known letter exchange between C. L. Dodgson (aka Lewis Carroll) and Charles Darwin was about photos of facial expressions, which Dodgson offered to Darwin (who kindly rejected the offer).

Heads by Henry Holiday and Marcus Gheeraerts the Elder

nobody@ipernity.com (Götz Kluge) — Sun, 14 Dec 2014 05:15:36 +0000

Götz Kluge has posted:

513 · · He was black in the face, and they scarcely could trace
514 · · · · The least likeness to what he had been:
515 · · While so great was his fright that his waistcoat turned white-
516 · · · · A wonderful thing to be seen!

This is probably one of the strongest examples for resemblances between graphical elements in Henry Holiday's illustrations (1876, cut by Joseph Swain) and graphical elements in another image. Sometimes Holiday mirrored his pictorial quotes: Here Holiday vertically flipped the "nose" of Gheeraert's "head". I flipped it back.

2011-12-12

2014-02-22

As for the image on the top of this page:

[left]: The Banker after his encounter with the Bandersnatch, depicted in Henry Holiday's illustration (woodcut by Joseph Swain for block printing) to the chapter "The Banker's Fate" in Lewis Carroll's "The Hunting of the Snark" (scanned from an 1876 edition of the book)

[right]: a redrawn and horizontally compressed and reproduction of "The Image Breakers" (1566-1568) aka "Allegory of Iconoclasm", an etching by Marcus Gheeraerts the Elder (British Museum, Dept. of Print and Drawings, 1933.1.1..3, see also Edward Hodnett: Marcus Gheeraerts the Elder, Utrecht 1971, pp. 25-29). Also I flipped the "nose" vertically.

CC BY-NC-ND 3.0 Version, 2000x2000: www.ipernity.com/doc/goetzkluge/36260048

Dancing in Rio 2016

nobody@ipernity.com (Götz Kluge) — Mon, 11 Aug 2014 20:22:36 +0000

Götz Kluge has posted:

=== left ===
Logo of Olympic games, Rio 2016

=== right ===
Artist: Henri Matisse
Year: 1909
Type: Oil on canvas
Dimensions: 259.7 cm × 390.1 cm (102.2 in × 153.6 in)
Location: Museum of Modern Art, New York City
Source: en.wikipedia.org/wiki/Dance_%28Matisse%29#mediaviewer/File:La_danse_%28I%29_by_Matisse.jpg (uploaded by Fentener van Vlissingen)
See also: www.ipernity.com/doc/laurieannie/24054645

=== Links ===
¤ Discussion: www.google.com/search?q=danse+matisse+olympic+2016
¤ Images: www.google.com/search?q=danse+matisse&num=100&source=lnms&tbm=isch&sa=X

Bonomi Edward Warren: Variations on Trees and Shadows

nobody@ipernity.com (Götz Kluge) — Sun, 03 Aug 2014 06:02:45 +0000

Götz Kluge has posted:

Bonomi Edward Warren (1842-1922, active 1860-1877):
¤ left: Sportsman and dog on a wooded path (1868, 68 x 51 cm, watercolor and gouache heightened with white)
¤ right: Woodland Scene in Summer with Children on a Path (1871, 120 x 89 cm, oil on canvas)

Not only the trees but also the shadows (e.g. on the path in the foreground) are similar.

(There is not too much information about this artist available in the internet.)

M. C. Escher's allusion(?) to John Martin's "The Bard"

nobody@ipernity.com (Götz Kluge) — Wed, 18 Jun 2014 05:24:54 +0000

Götz Kluge has posted:

[left] Maurits Cornelis Escher: Cimino Barbarano, 1929 (in Escher's "Italian" period). This reproduction of the original print has been horizontally compressed and segments on the right side and of the left side of the image have been removed.
[right] John Martin: The Bard, ca. 1817. The colors of the original painting have been completely desaturated and segments on the top and the bottom of the image have been removed.

As for calling this "allusion", I am just polite.

See also: flipsideflorida.wordpress.com/2013/03/06/escher-the-bard

Herbs & Horses

nobody@ipernity.com (Götz Kluge) — Tue, 15 Apr 2014 05:15:34 +0000

Götz Kluge has posted:

[left]: Henry Holiday: The Vanishing (detail from lower left side)
Illustration to Lewis Carroll's "The Hunting of the Snark" (1876)

[right]: John Martin: The Bard (retinex filtered and vectorized detail from lower left side)
commons.wikimedia.org/wiki/File:John_Martin_-_The_Bard_-_Google_Art_Project.jpg (ca. 1817)

The Broker's and the Monk's Nose (with a little help)

nobody@ipernity.com (Götz Kluge) — Thu, 16 Jan 2014 00:14:00 +0000

Götz Kluge has posted:

[left]: Segment from an illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark depicting the Broker (upper left corner). The object he is holding at his lips is the handle of a malacca walking cane, a gesture associated with dandies in the Victorian era.
[right]: Segment from anonymous: Edward VI and the Pope, a Tudor anti-papal allegory of reformation (16th century).

Holidays Snark illustrations are conundrums. And they were constructed as conundrums. The colored boxes are meant as a little help to you. There is not only a relation between the patterns marked by the same color, also the topological relation between the patterns on the left side and the right side show some similarity.

The pattern in the orange frame on the lower left side clearly is an allusion to a rather unobtrusive pattern on the right side. This shows that Holiday did not "copy" patterns just because of they would contribute to the impressiveness of his illustrations. Holiday is not a plagiarist.

·

In 1922 (46 years after The Hunting of the Snark was published), Henry Holiday (the illustrator) wrote to George Sutcliffe (Sangorski & Sutcliffe, bookbinders, London): "... you will notice that the Broker in [the proof of the illustration to The Crew on Board] no. 5 is quite different to the one in [the later proof] no. 2. I had intended to give a caricature a the vulgar specimen of the profession, but Lewis Carroll took exception to this and asked me to treat the head in a less aggressive manner, and no. 2 is the result. I consider that no. 5 has much more character, but I understood L. Carroll's objection and agreed to tone him down. ..."

Charles Mitchel called the first design of the broker's face in the lower right corner of the print "conspiciously antisemitic". The change of the printing blocks must have been very important to Carroll, as it took the wood cutter Swain quite some effort to implement that change (see p. 102, Lewis Carroll's The Hunting of the Snark, 1981 William Kaufmann edition).

As shown in the image above, the broker's face also appears in the upper left section of Holiday's illustration to The Hunting. Rather than by a "Semitic" face, Holiday may have been inspired by what could be a cliché of the face of a roman catholic monk depicted in the 16th century anti-papal painting Edward VI and the Pope.

·

Links:
※ www.reddit.com/r/museum/comments/4lrs3o/anonymous_king_edward_vi_and_the_pope_estimates
※ www.reddit.com/r/TheHuntingOfTheSnark/comments/3ul02u/the_brokers_and_the_monks_nose
※ www.academia.edu/9890076/The_Broker_and_the_Monk
※ www.facebook.com/snark150/posts/1647429028620386

M. C. Escher's allusion to John Martin's "The Bard"

nobody@ipernity.com (Götz Kluge) — Sun, 11 Aug 2013 06:27:22 +0000

Götz Kluge has posted:

www.flickr.com/photos/bonnetmaker/8460032132

This discovery is a kind of "bycatch" from my Snark hunt: M. C. Escher's "Italian" scene shown above (left side) is not a copy like his version (1935) of a segment from a paintig by Hieronymus Bosch. The scene is a more subtile allusion to John Martin's The Bard.

Segments:
[left] Maurits Cornelis Escher: Cimino Barbarano, 1929 (in Escher's "Italian" period)
[right] John Martin: The Bard, ca. 1817

For this side-by-side comparison, I redrew and then horizontally compressed Escher's lithograph after applying selective Gaussian filtering to the image in order to remove details which are not required for the comparison. Parts of the image on its sides have been removed. The top of Martin's painting has been removed too.

Earlier I thought that Escher here perhaps has combined an Italian scenery like Civita di Bagnoregio with what may be supposed to be a (Cambrian?) landscape, as it was there where Edward I went after the Welsh bards. But the landscape is not "Cambrian":
www.socialhistoryofart.com/19thCentury/ ... /John Martin.doc
"Ignoring the Welsh highlands, Martin clearly modeled his landscape on the Swiss Alps which had recently emerged as a major destination for English travelers thanks to the Romantic Alpine poems of Byron and Shelley, among others, and the Alpine landscapes of Koch and Turner. Spurning the tranquil and majestic “Alpine sublime” developed by Koch, Martin took the more dramatic Alpine compositions of Turner and transformed them with his own, quasi-Apocalyptic fervor. In so doing, he gave Alpine landscape the emotional turmoil found in Blake and Byron. And in all this, he took Gray’s Bard into completely new territory, leaving behind all traces of eighteenth-century restraint, decorum, reason, and quiet morality."
Robert Baldwin, 2010

The © for this image applies to the presentation of the discovery of the relation between Escher's print and Martin's painting. Escher's original illustration is © Cordon Art B.V. - Baarn - Netherlands.

See also: flipsideflorida.wordpress.com/2013/03/06/escher-the-bard

The Carpenter and Ahasuerus

nobody@ipernity.com (Götz Kluge) — Sun, 30 Jun 2013 09:25:02 +0000

Götz Kluge has posted:

[left]: Vectorized segment from John Everett Millais: Christ in the House of His Parents aka The Carpenter's Shop (1850).
Location: Tate Britain (N03584), London.

[right]: Vectorized segment from Philip Galle after Maarten van Heemskerck, Redrawn print Ahasuerus consulting the records (1564).
Location: Rijksmuseum, Amsterdam

Billiard-Marker & Henry George Liddell

nobody@ipernity.com (Götz Kluge) — Tue, 25 Jun 2013 05:20:38 +0000

Götz Kluge has posted:

[right]: Henry Holiday's depiction of the Billiard marker in Lewis Carroll's The Hunting of the Snark. The face in color is Henry George Liddell's face (by Hubert von Herkomer). Liddell was Carroll's (Dodgson's) superior in Christ Church, Oxford. (In the image I wrote "George Henry Liddell". But I am to lazy to correct that mistake now.)

[left]: The left image shows Holiday's draft for the right picture and an image depicting Liddell at age 28. That clear resemblance in Holiday's draft of the Billiard marker to Carroll's boss perhaps was a bit too much for Carroll. In the right picture the resemblance is weaker, but the asymmetry of the eyes and eyebrows still is there. In that final illustration Holiday was more cautious: He gave an older Liddell a wig (which slipped a bit out of position) and chopped of his chin.

Ditchley Snark

nobody@ipernity.com (Götz Kluge) — Thu, 20 Jun 2013 19:14:56 +0000

Götz Kluge has posted:

The comparison shows Henry Holiday's illustration (1876) to the front cover of Lewis Carroll's The Hunting of the Snark compared to a reproduction of the Ditchley Portrait (a gift from Sir Henry Lee to Queen Elizabeth I, c. 1592) by Marcus Gheeraerts the Younger.

2013-02-05: The allusions in Henry Holiday's Snark illustration to the Ditchley Portrait are not as easy to detect as in some other Snark illustrations by Holiday, yet this comparison holds the third rank in my set of Flickr Members' Snark Favorites. Watch the sail of the ship and the queen's "sail".

"While I concede Tufail 's thesis (2003) that Holiday received his instructions from Carroll and created his illustrations to reflect Carroll's cryptic messages and allusions, I contend that the interpretations given to the words we know so well by so many illustrators over a period in excess of 130 years continue to keep the Snark alive. Furthermore, it is my personal belief that Holiday managed to slip in a few interpretations of his own even though Carroll approved of the end result."
(Doug Howick: The Hiihijig of the Bijtcheb, Knight Letter #28, Summer 2009)

Perhaps Tufail and Howick both are right.

As Henry Holiday frequently alluded to works of father&son Gheeraerts, John Tufail's Illuminated Snark (2004) gave me the idea to search for a Gheeraerts painting in which a map is shown. John reckoned, that the clouds in Holiday's front cover illustration may be part of a map. I think that this possibility cannot be excluded. John's assumption then drew my attention to the Ditchley portrait. (The Ditchley portrait again helped me to find sources for Holiday's illustration to the back cover of Carroll's book as well.)

Ditchley Snark

nobody@ipernity.com (Götz Kluge) — Thu, 20 Jun 2013 19:14:56 +0000

Götz Kluge has posted:

The image shows Henry Holiday's illustration (1876) to the front cover of Lewis Carroll's The Hunting of the Snark compared to a grey shaded reproduction of the Ditchley Portrait (a gift from Sir Henry Lee to Queen Elizabeth I, c. 1592) by Marcus Gheeraerts the Younger.

"While I concede Tufail 's thesis (2003) that Holiday received his instructions from Carroll and created his illustrations to reflect Carroll's cryptic messages and allusions, I contend that the interpretations given to the words we know so well by so many illustrators over a period in excess of 130 years continue to keep the Snark alive. Furthermore, it is my personal belief that Holiday managed to slip in a few interpretations of his own even though Carroll approved of the end result."
(Doug Howick: The Hiihijig of the Bijtcheb, Knight Letter #28, Summer 2009)

Perhaps Tufail and Howick both are right. There is more:

"The 'clouds' - or what at first glance appear to be clouds, are another item of considerable interest. If these are indeed supposed to represent clouds, then they are remarkably poor renditions (and Holiday was by no means either a poor, nor slipshod artist). Rather any close examination of this aspect of the illustration leads the observer to think that this background to the Bellman is actually a map, complete with rivers. contrast to the map Bellman presents to his admiring crew."
(John Tufail, The Illuminated Snark, 2004)

As Henry Holiday in his Snark illustrations frequently alluded to works of father&son Gheeraerts, John Tufail's Illuminated Snark gave me the idea to search for a Gheeraerts painting in which a map is shown. John reckoned, that the clouds in Holiday's front cover illustration may be part of a map. I think that this possibility cannot be excluded. John's assumption then drew my attention to the Ditchley portrait. (The Ditchley portrait again helped me to find sources for Holiday's illustration to the back cover of Carroll's book as well.)

2013-12: Evidence supporting of John Tufail's thesis: www.doylenewyork.com/asp/fullcatalogue.asp?salelot=13BP04+++553+&refno=++953647&image=0 (see also: groups.yahoo.com/neo/groups/carrolliana/conversations/topics/358)

IT WAS A BOOJUM

nobody@ipernity.com (Götz Kluge) — Thu, 20 Jun 2013 18:48:35 +0000

Götz Kluge has posted:

[left]: Henry Holiday's back cover illustration (1876) to Lewis Carroll's The Hunting of the Snark.

[right]: Allegorical English School painting (ca. 1610, redrawn and rearranged: 2013) of Queen Elizabeth I at Old Age with allegory of Death and Father Time.
(Location of original painting: Corsham Court, EAN-Number: 4050356835081)
www.corsham-court.co.uk/Pictures/Commentary.html: "This portrait of Elizabeth I illustrates the difficulties she encountered during her troubled reign. For example, conflict between Protestants and Catholics was rife and the re-drafting of the Book of Common Prayer (held in her left hand) was a sensitive issue of the time."
Changes of lower segment: Shifted mirror view

While he rattled a couple of bones

nobody@ipernity.com (Götz Kluge) — Wed, 19 Jun 2013 19:49:02 +0000

Götz Kluge has posted:

[left]: Segment from an Illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark (1876).

[right, mirror view]: The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston.

· · 513· · He was black in the face, and they scarcely could trace
· · 514· · · · The least likeness to what he had been:
· · 515· · While so great was his fright that his waistcoat turned white-
· · 516· · · · A wonderful thing to be seen!

· · 517· · To the horror of all who were present that day.
· · 518· · · · He uprose in full evening dress,
· · 519· · And with senseless grimaces endeavoured to say
· · 520· · · · What his tongue could no longer express.

· · 521· · Down he sank in a chair--ran his hands through his hair--
· · 522· · · · And chanted in mimsiest tones
· · 523· · Words whose utter inanity proved his insanity,
· · 524· · · · While he rattled a couple of bones.

Mahendra Singh guided me to Mount's painting. I found a painting depicting a bone player in his blog which Mahendra used to tell us something about the bone ratteling Banker. Mahendra is a professional illustrator who not only is one of the few curageous and curious Snark hunters, but also (like Holiday) a very gifted architect of Snark conundrums in his own right. Just look at his own illustrations to his Snark edition (2010).
(justtheplaceforasnark.blogspot.com/2012/01/fit-7-pg-752-d...)

Mount painted The Bone Player after receiving a commission from the printers Goupil and Company for two pictures of African-American musicians to be lithographed (e.g. by Jean-Baptiste Adolphe Lafosse) for the European market. These became the last in a series of five life-size likenesses of musicians that Mount executed between 1849 and 1856.
(www.mfa.org/collections/object/the-bone-player-33207)

Could Henry Holiday have seen that lithograph? In London, Goupil & Cie was established by Ernest Gambart. 17 Southampton Street. Moved to 25 Bedford Street, Strand in 1875 when Goupil & Cie took over Holloway & Sons and their salerooms. Goupil's manager in London was at this time Charles Obach.
(en.wikipedia.org/wiki/Goupil_&_Cie)

The Banker's Nose and Spectacles

nobody@ipernity.com (Götz Kluge) — Sat, 13 Jul 2013 22:52:50 +0000

Götz Kluge has posted:

[left]: The Banker after his encounter with the Bandersnatch, depicted in a segment of Henry Holiday's illustration (woodcut by Joseph Swain for block printing) to The Banker's Fate in Lewis Carroll's The Hunting of the Snark (scanned from an 1876 edition of the book)

[right]: a horizontally compressed copy of The Image Breakers (1566-1568) aka Allegory of Iconoclasm, an etching by Marcus Gheeraerts the Elder (British Museum, Dept. of Print and Drawings, 1933.1.1..3, see also Edward Hodnett: Marcus Gheeraerts the Elder, Utrecht 1971, pp. 25-29). In a subsection (yellow frame) the luminosity has been inverted. There you see a part of the Banker's "spectacles". Also I mirrored the "nose" about a horizontal axis (inset in left image).

2009-01-27 is the date of the 1st version of this comparison.

From Doré's Root to Holiday's Rat

nobody@ipernity.com (Götz Kluge) — Thu, 06 Jun 2013 05:00:10 +0000

Götz Kluge has posted:

Segments from illustrations
[left]: by Gustave Doré (to John Milton's Paradise Lost, Book VI, 1866) and
[right]: by Henry Holiday (to The Hunting of the Snark, 1876) .

Here Henry Holiday played with zoomorphism and turned what could be parts of a root into a (naughty) winged rat.

i am not sure whether Doré's hatching of the "nose" and the "paw" is part of a joke already by Doré in that otherwise quite hellish scenario.

The Hunting of the Snark

nobody@ipernity.com (Götz Kluge) — Fri, 31 May 2013 20:46:30 +0000

Götz Kluge has posted:

The Hunting of the Snark (1876) has been written by Lewis Carroll and illustrated by Henry Holiday.

The Image shows Henry Holiday's illustrations to the front cover and the back cover of the book and paintings depicting Queen Elizabeth I, to which Henry Holyday may have alluded.

There are many more pictorial allusions in Henry Holiday's Snark illustrations.

Holiday and Gheeraerts I

nobody@ipernity.com (Götz Kluge) — Fri, 31 May 2013 08:21:24 +0000

Götz Kluge has posted:

Illustration by Henry Holiday to The Hunting of the Snark (1876, chapter The Vanishing) and The Image Breakers (1566-1568) by Marcus Gheeraerts the Elder.

How does blurring help to compare the images? The Priest in the Mouth detail is displayed using two high resolution images (middle) which then again have been low pass filtered (bottom). That filtering helps to focus on larger structures.

This was the first allusion by Henry Holiday to another work of art which I discovered in December 2008.

Holiday - Millais - Anonymous - Galle

nobody@ipernity.com (Götz Kluge) — Sat, 08 Jun 2013 20:30:06 +0000

Götz Kluge has posted:

See also: www.academia.edu/9856486/Henry_Holiday_-_and_Millais_Christ_in_the_House_of_His_Parents_

.

The discovery here is the allusion by Henry Holiday to the painting by J.E. Millais. Finding Millais' allusions to an anonymous painter and to Galle's print is a "bycatch" of my Snark hunt. The relation between the anonymous painting and Galle's print already has been explained by Margaret Aston in 1994. That relation brobably has been discovered even earlier by Millais.

.

[left]: Henry Holiday: Depiction (1876) of the Baker's visit to his uncle in Lewis Carroll's "The Hunting of the Snark" (engraved by Joseph Swain). Outside of the window are some of the Baker's 42 boxes.

[right top]: John Everett Millais: Christ in the House of His Parents aka The Carpenter's Shop (1850).
Location: Tate Britain (N03584), London.
Literature:
* Deborah Mary Kerr (1986): John Everett Millais's Christ in the house of his parents (circle.ubc.ca/handle/2429/26546)
* p.34 in (01) Éva Péteri (2003): Victorian Approaches to Religion as Reflected in the Art of the Pre-Raphaelites, Budapest 2003, ISBN 978-9630580380 (shortlink: www.snrk.de/EvaPeteri.htm)
* Albert Boime (2008): Art in an Age of Civil Struggle, 1848-1871
p. 225-364: The Pre-Raphaelites and the 1848 Revolution (en.wikipedia.org/wiki/Special:BookSources/0226063283)

[right middle]: Anonymous: Edward VI and the Pope, An Allegory of Reformation, mirrored view (16th century, NPG 4165). Iconoclasm depicted in the window. Under the "window" 3rd from left is Thomas Cranmer who wrote the 42 Articles in 1552.
Edward VI and the Pope (NPG 4165) was, until 1874, the property of Thomas Green, Esq., of Ipswich and Upper Wimpole Street, a collection 'Formed by himself and his Family during the last Century and early Part of the present Century' (Roy C. Strong: Tudor and Jacobean Portraits, 1969, p.345). Thus, when Millais' Christ in the House of His Parents ('The Carpenter's Shop') was painted in 1849-1850, the 16th century painting was part of a private collection. It was sold by Christie's 20 March 1874 (lot 9) to a buyer unknown to me, that is, when Holiday started with his illustrations to The Hunting of the Snark.
Location: National Portrait Gallery, London

[right bottom]: Philip Galle after Maarten van Heemskerck, Redrawn print Ahasuerus consulting the records (1564). The resemblance to the image above (right middle) was shown by Dr. Margaret Aston in 1994 in The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (p. 68). She also compared the bedpost to Heemskerck's Esther Crowned by Ahasuerus.
Location: Rijksmuseum, Amsterdam

Doré (1863), Holiday (1876), Doré (1866)

nobody@ipernity.com (Götz Kluge) — Thu, 30 May 2013 19:29:30 +0000

Götz Kluge has posted:

=== Henry Holiday's Allusions ===
The comparison shows illustrations [right side] by Gustave Doré (to John Milton's Paradise Lost, Book VI, 1866), [left side] Plate I of Gustave Doré's illustrations to chapter 1 in Miguel de Cervantes' Don Quixote (1863 edition) and [center] by Henry Holiday (to The Hunting of the Snark, 1876).
Probably also this applies: Doré (1863) -> Doré (1866). Why shouldn't a prolific artist re-use his own work?

See also: www.academia.edu/9920080/Henry_Holiday_and_Gustave_Dor%C3%A9_borrowing_from_Gustave_Dor%C3%A9

=== Safety at the Workplace ===
The story how I run into The Hunting of the Snark" is has been moved to this image:
www.ipernity.com/doc/goetzkluge/34431511