Photos, videos and docs of Götz Kluge, with the keywords: "early"

Mary's and the Baker's Kerchiefs

nobody@ipernity.com (Götz Kluge) — Sat, 27 Dec 2014 10:00:12 +0000

[left]: Redrawn segment from one of Henry Holiday's pencil drafts for the depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark. Below the draft you see a segment of the final – and less daring – illustration.

[right]: John Everett Millais: Redrawn Segment from Christ in the House of His Parents (1850) depicting Mary (and a part of Christ's face in the upper right corner). Below that segment you see a larger segment from Millais' painting.

This example shows how Holiday worked on the construction of his conundrums in his illustrations to Lewis Carroll's The Hunting of the Snark. Even though Holiday copied a face from a face, he reinterprated shapes of face elements from the source face in order to represent different face elements with a resembling shape in the target face. The baker's ear is based on a shape in the depiction of Marie's face which is no ear. The same partially applies to the Baker's nose and the baker's eye.

Such kind of pictorial obfuscation should not be a surprise as The Hunting of the Snark is a poem in which readers had been searching textual allusions since 1876. (Too obvuous allusions are too boring.) The focus on textual analysis of the Snark seems to lead us to underestimate Holiday's paralleling Carroll's wordplay with is own means as an graphical artist.

Eagle and Star

nobody@ipernity.com (Götz Kluge) — Sun, 27 Jul 2014 18:02:18 +0000

Götz Kluge has posted:

[top segments]: Anonymous (1674), Fig. 4/4 to the orartie van de Professor L. Wolsogen over syndroom en de nytlegging van de felue gadaen .... The animals are based on illustrations by M. Gheeraerts the Elder to Aesop's Fables. (Print now is located at British Museum, BM Satires 1047, reg.no.: 1868,0808.3286)

[bottom segments]: Henry Holiday (1876), illustration to Lewis Carroll's The Hunting of the Snark (woodcut by Joseph Swain)

The Baker's Dear Uncle

nobody@ipernity.com (Götz Kluge) — Sun, 27 Jul 2014 17:44:33 +0000

Götz Kluge has posted:

In Henry Holiday's illustrations to Lewis Carroll's The Hunting of the Snark I found that Holiday constructed his illustrations as pictorial puzzles by quoting elements from paintings and illustrations of earlier artists (three images on the right side of the comparison image shown above). Holiday assimilated these elements into his Snark illustrations. But I also found that Alfred Parsons may have quoted elements from one of Holiday's illustrations.

For more, click on the images in the comment below.

Darwins snarked Study

nobody@ipernity.com (Götz Kluge) — Wed, 23 Jul 2014 05:56:31 +0000

Götz Kluge has posted:

Alfred Parsons' depiction of Charles Darwin's study in Downe. The wood cutter was J. Tynan.

I assume that Alfred Parsons quoted shapes from Henry Holiday's illustration (cut by Joseph Swain) to The Bakers Tale in Lewis Carroll's The Hunting of the Snark in a similar manner as Henry Holiday used shapes in the works of earlier artists perhaps in order to "point" to these works. The match of each single shape could be quite incidental, but the the spacial relation of most shapes to each other also matches well. That is less likely to be just incidental.

(Alfred Parsons' depiction of Charles Darwin's new study is used here with permission by Dr. John van Wyhe, darwin-online.org.uk/. Henry Holiday's illustration has been scanned from a book published in 1911.)

This is one of the images which I posted on Flickr a few years ago. It is an earlier version of the image below:

Paradise Lost and the Beaver's Lesson

nobody@ipernity.com (Götz Kluge) — Sat, 19 Jul 2014 09:12:40 +0000

Götz Kluge has posted:

The comparison shows illustrations [left side] by Gustave Doré (to John Milton's Paradise Lost, Book VI, 1866 and [center] by Henry Holiday (to The Hunting of the Snark, 1876).

The Bankers Fate

nobody@ipernity.com (Götz Kluge) — Sun, 23 Mar 2014 13:02:48 +0000

Götz Kluge has posted:

My first comparison related to The Banker (2009). After more than one year I suddenly understood Holiday's nose job:

The Uncle over Darwin's Fireplace

nobody@ipernity.com (Götz Kluge) — Sun, 02 Feb 2014 16:20:54 +0000

Götz Kluge has posted:

Segments from
[left, vertically stretched]: The top of the fireplace in Alfred Parsons' depiction (1882) of Charles Darwin's study in Downe
[right]: an illustration (1876, printed 1911) by Henry Holiday to Lewis Carroll's The Hunting of the Snark

Rescaleable formats for printing posters: PDF (7.7 MB) and SVGZ (8.3 MB).

(The segment of Alfred Parsons' depiction of Charles Darwin's new study is used here with permission by Dr. John van Wyhe, darwin-online.org.uk/. Henry Holiday's illustration has been scanned from a 1911 book.)

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.

IT WAS A BOOJUM (bw)

nobody@ipernity.com (Götz Kluge) — Sun, 28 Jul 2013 00:03:50 +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, color desaturated 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

[inset]: The Bellman, detail from Henry Holiday's front cover illustration (1876) to Lewis Carroll's The Hunting of the Snark.

Darwin's Fireplace and the Baker's Dear Uncle

nobody@ipernity.com (Götz Kluge) — Sat, 13 Jul 2013 22:35:03 +0000

Götz Kluge has posted:

Segments from
• [left, vertically stretched]: Photo (before 1882) of the top of the fireplace in Charles Darwin's study
• [center, vertically stretched]: from Alfred Parsons' depiction (1882) of Charles Darwin's study in Down
• [right]: an illustration (1876) by Henry Holiday to Lewis Carroll's The Hunting of the Snark

This is not one of Henry Holiday's allusions. Here Alfred Parsons perhaps alluded to Holiday's illustration. Parsons did not simply copy a photo, he also rearranged the fire place decoration a bit.

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.

Holiday and Gheeraerts I

nobody@ipernity.com (Götz Kluge) — Wed, 03 Jul 2013 04:41:56 +0000

Götz Kluge has posted:

Illustrations by Henry Holiday (from The Hunting of the Snark,1876) and Marcus Gheeraerts the Elder (Allegory of Iconoclasts around 1567): In the "mouth" of Gheeraert's "head" a praying priest is depicted. The shape of the priest also is visible in the "mouth" of Holiday's vanishing "Baker".

This is not plagiarism. This is a puzzle in a picture similar to puzzles in textual artwork (poetry,novels etc.), where readers are challenged to detect references to other writers. Holiday may have used the shape of the priest in his own illustration in order to indicate to the beholder a relation to Gheeraert's illustration. Holiday also used other elements from Gheeraert's etching in his own work.

Priest in the Mouth

nobody@ipernity.com (Götz Kluge) — Tue, 25 Jun 2013 19:25:14 +0000

Götz Kluge has posted:

[left]: mirrored view of details from in Henry Holiday's illustration The Vanishing to Lewis Carroll's The Hunting of the Snark (1876)

[right]: segments from Allegory of Iconoclasm by Marcus Gheeraerts the Elder (1566-1568)

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.

Snark Hunt: Square One

nobody@ipernity.com (Götz Kluge) — Mon, 24 Jun 2013 22:42:15 +0000

Götz Kluge has posted:

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

This is the first comparison which I made between a Snark illustration by Henry Holiday and another image. A second discovery followed. That is how the Snark hunt started in December 2008. At that time my dealing with Holliday's illustration perhaps was a bit too playful and some matches marked in this comparison are questionable. But it was a good start, also thanks to some encouragement by the Canadian Indian German cryptomorphist Snark illustrator Mahendra Singh, who at that time already (but unknowingly) worked like Henry Holiday (even though he doesn't like Holiday's illustrations too much). The difference: Holiday never talked about his allusions. Singh does so quite openly. Both artists have in common, that they not only create illustrations, they also teach how to see.

How did I run into the Snark? The hunt is a kind of side effect of my work in work safety.

Anne I?

nobody@ipernity.com (Götz Kluge) — Sun, 16 Jun 2013 14:47:51 +0000

Götz Kluge has posted:

Detail from Henry Holiday's illustration to the back cover of Lewis Carroll's The Hunting of the Snark (1876).

I don't unterstand this pattern (if it is a pattern).
Perhaps it is not meant to be understood. Or it is no "meaningful" pattern at all.

The pattern is clearly distinguishable from its environment. The letter-like shapes shown below the image are the result of very simple linear transformations using GIMP. Yet, I still can't say whether these are letters or just meaningless shapes.

Is there any meaning? Should the "letters" be rotated and/or mirrored again? Is there a word game ("Anne I" beside a buoy) related to Anne Boleyn? (In his illustrations, Holiday clearly alluded to other historical figures related to Anne Bolyen, e.g. Queen Elizabeth I.)

Tree of Life

nobody@ipernity.com (Götz Kluge) — Sun, 16 Jun 2013 14:12:52 +0000

Götz Kluge has posted:

Segment of an illustration by Henry Holiday (cut by Joseph Swain) in Lewis Carroll's The Hunting of the Snark, 1876

The segment on the lower right side is Charles Darwin's Tree of Evolution or Tree of Life sketch in his 1st notebook, page 36, 1837-1838. I learned, that Darwin did not keep his notebook secret after the publication of On the Origin of Species, but I do not know of any presentation of his sketch before 1876. Thus, the resemblance between the "weed" and Darwin's evolutionary tree sketch propably is purely incidental.

Postprocessing: GIMP perspective transformation tool

Questions:
(1) When did Charles Darwin publish a facsimile of his sketch fo the first time? When (e.g. in lectures etc.) was it presented for the first time?
(2) Or is there a completely different explanation? Holiday's "weed" also could allude to an eagle riding a wild boar.

The Bellman and Father Time

nobody@ipernity.com (Götz Kluge) — Sun, 16 Jun 2013 13:19:28 +0000

Götz Kluge has posted:

Henry Holiday's depiction of the Bellman in fhe front cover illustration to Lewis Carroll's The Hunting of the Snark and Father Time from an allegorical English School painting (ca. 1610) depicting Queen Elizabeth I at Old Age.

That which hath made them drunk hath made me bold;
What hath quench'd them hath given me fire.
Hark! Peace!
It was the owl that shriek'd, the fatal bellman,
Which gives the stern'st good-night. He is about it:
The doors are open; and the surfeited grooms
Do mock their charge with snores: I have drugg'd
their possets,
That death and nature do contend about them,
Whether they live or die.

A little Zoo in Charles Darwin's Study

nobody@ipernity.com (Götz Kluge) — Sat, 15 Jun 2013 11:32:02 +0000

Götz Kluge has posted:

Alfred Parsons' depiction of Charles Darwin's Study in Downe, drawn from a photo and engraved by J. Tynan, signed in August 1882, published in an article by Alfred R. Wallace in the Century Magazine (The Century Illustrated Monthly Magazine), Volume 25, Nov. 1882 to April 1883. (Alfred Parsons' depiction of Charles Darwin's new study is used here with permission by Dr. John van Wyhe, darwin-online.org.uk/).

The little zoo, which Parsons (and Tynan) hid in his illustration, is highlighted by coloring the animals. Even when depicting real objects, artist can "play" with that reality.

But perhaps I also just fell victim to zoomorphism.

William III, Religion and Liberty, Care and Hope

nobody@ipernity.com (Götz Kluge) — Sat, 01 Jun 2013 18:00:00 +0000

Götz Kluge has posted:

The color markers in both images show, to which pictorial elements in a 1674 print Henry Holiday alluded in his illustration to Lewis Carroll's The Hunting of the Snark (lower image, 1876) in the chapter The Hunting. The print (upper image by an anonymous artist, redrawn by me) is the orartie van de Professor L. Wolsogen over syndroom en de nytlegging van de felue gadaen .... The animals in that print are based on illustrations by M. Gheeraerts the Elder to Aesop's Fables. (The print now is located at British Museum, BM Satires 1047, reg.no.: 1868,0808.3286. A scan of the original print showing more details can be obtained from the museum.)

Holiday alluded to that 1674 image depicting William III as well as the allegorical figures for "religion" and "liberty". He discussed with Dodgson (Carroll) about the possible allegorical depiction of "care and hope". Interestingly, the two female members of the hunting crew also are quite similar to the allegories of "religion" and "liberty" shown in the 1674 print, the conflict between both probably being also conflict for the reverend Dodgson.

I made this image in the year 2010. The little inset with the yellow frame was my first presentation (2009-07-09) of the comparison.