Photos, videos and docs of Götz Kluge, with the keywords: "Pre-Raphaelites"

Wood Shavings turned Pope

nobody@ipernity.com (Götz Kluge) — Sun, 16 Feb 2014 11:45:53 +0000

From Pope to Wood Shavings

[left]: Rotated segment from John Everett Millais: Christ in the House of His Parents (1850).

[center]: As above. Blurred.

[right]: Rotated segment from anonymous: Edward VI and the Pope, a Tudor anti-papal allegory of reformation, mirrored view (16th century).

Carpenters Shop and Millais' Allusions

nobody@ipernity.com (Götz Kluge) — Sat, 15 Feb 2014 10:44:29 +0000

Götz Kluge has posted:

Finding Millais' allusions to an anonymous painter is a "bycatch" of my Snark hunt.

[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)

[bottom]: 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

Holiday - Millais - Anonymous - Galle; detail

nobody@ipernity.com (Götz Kluge) — Fri, 08 Aug 2014 12:25:24 +0000

Götz Kluge has posted:

#1, left - (allusion to the bedpost #3): 1876, Henry Holiday (engraver: Joseph Swain): The illustration detail on the very left side is a vectorized scan from Holiday's illustration to an 1910 edition of Lewis Carroll's The Hunting of the Snark.
#1, right: Additionally you see a segment from Holiday's preperatory draft.

#2 - (allusion to the bedpost #3 and to Philip Galle's print #4): 1850, the young John the Baptist in John Everett Millais: Christ in the House of His Parents (aka The Carpenter's Shop). The left leg of the boy looks a bit deformed. This is no mistake. Probably Millais referred to #3 and to #4.

#3 - (Henry VIII's bedpost): 16th century, anonymous: Redrawn segment of Edward VI and the Pope, An Allegory of Reformation, (mirror view).

#4 - (bedpost #3 alludes to bedpost #4): 1564, Redrawn segment of a print Ahasuerus consulting the records by Philip Galle after Maarten van Heemskerck. The resemblance of #4 to the image #3 (the bedpost) was shown by the late 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.

The Vanishing and the Gneiss Rock

nobody@ipernity.com (Götz Kluge) — Tue, 27 Aug 2013 19:20:29 +0000

Götz Kluge has posted:

Rotated segment from John Ruskin's Gneiss Rock (Glenfinlas, 1853; now in the Ashmolean Museum) mounted into Holiday's illustration (1876, cut by Joseph Swain) to the chapter The Vanishing in Lewis Carroll's The Hunting of the Snark.

The Bellman and Sir Henry Lee (no marks)

nobody@ipernity.com (Götz Kluge) — Fri, 26 Jul 2013 13:53:44 +0000

Götz Kluge has posted:

Wood Shavings turned Pope (1st version)

nobody@ipernity.com (Götz Kluge) — Sat, 20 Jul 2013 05:12:36 +0000

Götz Kluge has posted:

From Pope to Wood Shavings

[left]: Rotated segment from John Everett Millais: Christ in the House of His Parents (1850).

[right]: Rotated segment from anonymous: Edward VI and the Pope, a Tudor anti-papal allegory of reformation, mirrored view (16th century).

Holiday - Millais- Anonymous - Galle, detail

nobody@ipernity.com (Götz Kluge) — Sun, 07 Jul 2013 15:48:53 +0000

Götz Kluge has posted:

#1 - (allusion to the bedpost #3): 1876, Henry Holiday: Segment of an illustration to Lewis Carroll's The Hunting of the Snark (vectorized after a scan from an 1911 edition of the Snark)

#2 - (allusion to the bedpost #3 and to Philip Galle's print #4): 1850, the young John the Baptist in John Everett Millais: Christ in the House of His Parents (aka The Carpenter's Shop). The left leg of the boy looks a bit deformed. This is no mistake. Probably Millais referred to #3 and to #4.

#3 - (Henry VIII's bedpost): 16th century, anonymous: Redrawn segment of Edward VI and the Pope, An Allegory of Reformation, (mirror view).

#4 - (bedpost #3 alludes to bedpost #4): 1564, Redrawn segment of a print Ahasuerus consulting the records by Philip Galle after Maarten van Heemskerck. The resemblance of #4 to the image #3 (the bedpost) was shown by the late 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.

Thumb & Lappet

nobody@ipernity.com (Götz Kluge) — Sat, 29 Jun 2013 07:58:36 +0000

Götz Kluge has posted:

[left]: Henry Holiday: Segment from a depictionof the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark (engraved by Joseph Swain).

[center]: Doesn't this thumb look more like a piece of cloth rather than like a thumb?

[right]: John Everett Millais: Redrawn Segment from Christ in the House of His Parents aka The Carpenter's Shop (1850), presently on display at Tate Britain (N03584).

Snark Hunting with the HMS Beagle

nobody@ipernity.com (Götz Kluge) — Sun, 16 Jun 2013 10:11:35 +0000

Götz Kluge has posted:

Assembled scans from original 19th century sources:
• Illustration by H. Holiday to The Hunting of the Snark, 1876
• Inlay: Print based on a drawing (1834-04-16) by Conrad Martens, etching published in: Francis Darwin, Life and Letters of Charles Darwin , p. 160, 1888. Conrad Martens' drawing has been engraved by T. Landseer and published in the year 1838 by H. Colburn in The Narrative of the Surveying Voyages of HMS Adventure and Beagle.

The Bellman and Sir Henry Lee

nobody@ipernity.com (Götz Kluge) — Thu, 13 Jun 2013 05:09:15 +0000

Götz Kluge has posted:

The Bellman (segment of an illustration by Henry Holliday to Lewis Carroll's The Hunting of the Snark) and a mirrored view of an unfinished portrait of Sir Henry Lee by Marcus Gheeraerts the Younger

Yes, the noses and the eyes are different. This is not a face comparison. In this case, Holiday's pictorial allusions refer to the surroundings of Lee's face, not to the face itself. As in several other cases, Holiday maintained the topological relation between the quoted shapes. Here the shapes are the nodes in two quite similar graphs.

Holiday even "copied" the cracks in the varnish of Gheerert's painting.

Holiday - Millais - Anonymous - Galle

nobody@ipernity.com (Götz Kluge) — Sat, 08 Jun 2013 20:52:14 +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

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.

Anne Hale Mrs. Hoskins

nobody@ipernity.com (Götz Kluge) — Thu, 06 Jun 2013 04:28:34 +0000

Götz Kluge has posted:

Anne Hale, Mrs Hoskins (1629) by Marcus Gheeraerts the Younger and a segment (mirror view) of an illustration by Henry Holiday (cut by Joseph Swain) to Lewis Carroll's The Hunting of the Snark (1876)

Anne Hale Mrs. Hoskins

nobody@ipernity.com (Götz Kluge) — Tue, 21 May 2013 04:38:08 +0000

Götz Kluge has posted:

42 Boxes, Sheep, Iconoclasm

nobody@ipernity.com (Götz Kluge) — Sat, 08 Jun 2013 20:31:12 +0000

Götz Kluge has posted:

[left]: Segment from Henry Holiday's depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark. Outside of the window are some of the Baker's 42 boxes.

[center]: Segment from John Everett Millais: Christ in the House of His Parents (1850).

[right]: segment from Edward VI and the Pope, An Allegory of Reformation, mirrored view (Anonymous, 16th century); depiction of iconoclasm. In The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (1994, p. 72), the late Margaret Aston compared the iconoclastic scene to prints depicting the destruction of the Tower of Babel (Philip Galle after Maarten van Heemskerck, 1567). From Margaret Aston's book I learned that the section showing the iconoclasm scene is an inset, not a window. Actually, I think, it is an inset which was meant to be perceived as a window as well.

·
Holiday quoted pictorial elements from both paintings [center, right]. I assume that he must have noticed, that Millais quoted from the 16th century painting.

With yellow kid gloves and a ruff

nobody@ipernity.com (Götz Kluge) — Sun, 02 Jun 2013 16:37:24 +0000

Götz Kluge has posted:

[left (colored mirror view) and right (original)]: a segment from an illustration (1876) by Henry Holiday to The Hunting of the Snark

[center]: Portrait (1615) of Mary Throckmorton Lady Scudamor by Marcus Gheeraerts the Younger. Here Holiday's creativity and playing with zoomorphism gave life to a scarf.

·
The coloring of the gloves I added to Henry Holiday's illustration based on Lewis Carroll's poem. The Beaver's color I just guessed ;-)

· · 057· · He came as a Butcher: but gravely declared,
· · 058· · · · When the ship had been sailing a week,
· · 059· · He could only kill Beavers. The Bellman looked scared,
· · 060· · · · And was almost too frightened to speak:

· · 285· · But the Butcher turned nervous, and dressed himself fine,
· · 286· · · · With yellow kid gloves and a ruff--
· · 287· · Said he felt it exactly like going to dine,
· · 288· · · · Which the Bellman declared was all "stuff."

· · 409· · Such friends, as the Beaver and Butcher became,
· · 410· · · · Have seldom if ever been known;
· · 411· · In winter or summer, 'twas always the same--
· · 412· · · · You could never meet either alone.

The Bandersnatch fled as the others appeared

nobody@ipernity.com (Götz Kluge) — Sun, 02 Jun 2013 11:55:47 +0000

Götz Kluge has posted:

In Lewis Carroll's The Hunting of the Snark, the intertextuality of the poem is paralleled by the interpictoriality of Henry Holiday's illustrations: Here Henry Holiday reinterprets Marcus Gheeraerts I+II.

The image above shows Henry Holiday's illustration to the chapter The Banker's Fate. (A small part of the left side has been removed in order to achieve a 4:3 ratio. The largest size is 5696 x 4352 pixels.) To Holiday's illustration I added images from which, in my opinion, he had borrowed shapes and concepts:

(1) Under the Banker's arm:
* Horizontally compressed segment 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). I mirrored the "nose" about a horizontal axis (yellow frame).

(2) Under the Beaver's paw (mirror views):
* [top]: Marcus Gheeraerts the Younger: Catherine Killigrew, Lady Jermyn (1614)
* [bottom, mirror view]: Marcus Gheeraerts the Younger: Mary Throckmorton, Lady Scudamore (1615)

Millais, Anonymous, Galle

nobody@ipernity.com (Götz Kluge) — Sun, 02 Jun 2013 08:04:44 +0000

Götz Kluge has posted:

[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)

[center]: 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

[bottom]: Philip Galle after Maarten van Heemskerck, Redrawn print Ahasuerus consulting the records (1564). The resemblance to the image above (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

Detail:

The Carpenter and Ahasuerus:

Before I found Millais' allusions as a kind of bycatch of my Snark hunt,
I started with Henry Holiday's allusions to Millais:

An "allusion chain":

Album:

J. E. Millais

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

Holiday - Millais- Anonymous - Galle, detail

nobody@ipernity.com (Götz Kluge) — Fri, 31 May 2013 09:16:20 +0000

Götz Kluge has posted:

#1 - (allusion to the bedpost #3): 1876, Henry Holiday: Segment of an illustration to Lewis Carroll's The Hunting of the Snark (vectorized after a scan from an 1910 edition of the Snark)

#2 - (allusion to the bedpost #3 and to Philip Galle's print #4): 1850, the young John the Baptist in John Everett Millais: Christ in the House of His Parents (aka The Carpenter's Shop). The left leg of the boy looks a bit deformed. This is no mistake. Probably Millais referred to #3 and to #4.

#3 - (Henry VIII's bedpost): 16th century, anonymous: Redrawn segment of Edward VI and the Pope, An Allegory of Reformation, (mirror view).

#4 - (bedpost #3 alludes to bedpost #4): 1564, Redrawn segment of a print Ahasuerus consulting the records by Philip Galle after Maarten van Heemskerck. The resemblance of #4 to the image #3 (the bedpost) was shown by the late 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.