tag:blogger.com,1999:blog-50353911274866809592024-03-12T19:03:15.187-07:00The Garden of Unearthly DelightsRandom thoughts on Art, Illustration and CartoonsLuke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.comBlogger37125tag:blogger.com,1999:blog-5035391127486680959.post-30595593025568416292010-03-03T16:36:00.000-08:002010-03-03T16:48:28.397-08:00Happy 90th Birthday, Ronald Searle!<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/TE85RLC73OE&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/TE85RLC73OE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
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<a href="http://ronaldsearle.blogspot.com/">Ronald Searle</a>, the greatest living cartoonist, celebrated his 90th birthday yesterday. I've always loved Searle's work since seeing his Molesworth illustrations (particularly of the life and habits of the Gerund) at school . His most famous drawings are probably his St. Trinian's cartoons, though many may also know him for his earlier, more serious work as an unofficial war artist from when he was a prisoner in Changi. Since Searle has the good taste to live within easy reach of a number of vineyards, I've uploaded some of his wine-themed cartoons.<br />
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I love the billowy stomach set against the flat, stiff limbs in the drawing above.<br />
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At some restaurants the wine is treated with such reverence and ceremony that the wine list might as well be delivered by the 'High Priest'.<br />
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Love the use of straight lines and diagonals to emphasise the force here. I've only just noticed the pot-bellied bloke at far right, ogling the woman sitting opposite him.<br />
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'Ah, my Beloved, fill the cup...' A really beautiful drawing that proves that not drawing a line can be as effective as drawing one. As always the thickness of the line adds weight and tone.<br />
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This one's one of my all-time favourites. I love the impression on the waiter's face. He looks like he'll still pour a glass for the unfortunate guest.<br />
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The seated couple are so delightfully ugly in this one. Note the layers of fat, the dozy expressions, the many chins, the snout-like noses and the slightly exposed nipples.<br />
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'A jug of wine, a loaf of bread and Thou...'Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com1tag:blogger.com,1999:blog-5035391127486680959.post-27879261998648845422010-01-12T05:19:00.000-08:002010-01-14T11:11:30.699-08:00Sir John Tenniel & Jack the RipperNo, this post isn't about the bizarre theory that Lewis Carroll was responsible for the Whitechapel murders (though the idea is too funny not to mention later in this post). It covers cartoons on 'Jack the Ripper' by John Tenniel, who is best known now for his <i>Alice</i> illustrations, but who was famous at the time as a cartoonist for satyrical magazine <i>Punch, or the London Charivari</i>.<br />
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Jack the Ripper is probably the most famous serial killer, despite his relatively low body count; this is partly because he was one of the very first, partly because of the brutality of the killings, and partly because he was never caught.<br />
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The 1888 Whitechapel muders mingle with the fictional creations of the period: Victor Frankenstein had been harvesting organs for his infamous experiment fifty seven years before; Mr. Hyde was stalking the streets of London doing who knows what; Sherlock Holmes and Dr. Watson were pioneering forensic science to solve murder cases; and Count Dracula was preparing to infiltrate the Empire in the bloodiest way possible.<br />
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The list of real-life suspects grows steadily longer every year. One of the favourites is Francis Tumblety, an American quack doctor whose criminal connections stretched to a possible involvement in the assassination of Abraham Lincoln (though he was cleared for that allegation). Tumblety fiercely disliked women, particularly 'fallen women', and owned a collection of wombs in jars - comparable to the murderer's passion for removing the wombs of his victims, amongst other organs.<br />
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But there have been many more theories, some bordering on the comic. Among the most outrageous claims is the theory that the murderer was a syphilis-crazed Prince Albert Victor. There have been other conspiracy theories involving the Royal Family and the Masons. But the craziest one is probably the above mentioned theory of Richard Wallace, who asserts that Lewis Carroll inserted anagrams of confessions in his writings. Needless to say, these theories are generally regarded as entertaining, but not taken seriously.<br />
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The cartoons below are by John Tenniel, who was probably <i>Punch</i>'s best cartoonist. His illustrations were normally given a full page, sometimes even a double-page spread. The first reviews of <i>Alice's Adventures in Wonderland</i> focus as much on Tenniel's illustrations as Carrol's text. Other Tenniel <i>Punch</i> cartoons contain prototypes of Alice, the Queen of Hearts and various other characters from the two books (see Michael Hancher, <i>Tenniel Illustrations to the 'Alice' Books</i>, 1986).<br />
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Given the goriness and brutality of the murders, it is perhaps not surprising that Tenniel chooses to focus on the circumstances and cultural effect of the killings, rather than the killings themselves.<br />
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(By the way, <i>Punch</i>'s alternate name of <i>The London Charivari</i>, refers to the French satyrical periodical for which Gustave Dore, J. J. Grandville and Honore Daumier all at some point drew.)<br />
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First is a <i>Punch</i> engraving from September 22, 1888, fourteen days after the murder of Annie Chapman, the second of the Ripper's five victims. At this point, the closest the murderer had to an identity was the name 'Leather Apron', who had apparently been threatening the Whitechapel prostitutes for a year. This name had entered public consciousness via a September 5th article in <i>The Star</i>.<br />
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The cartoon, <i>Blind Man's Buff</i>, mocks the police's methods of detection. The policeman shown is gagged, cutting off his sight, hearing and sense of smell. He blindly gropes about while various disreputable types mock and jeer. Note the neanderthal-like physiognomy of these characters; ever since the publication of Darwin's <i>On the Origin of Species</i> in 1859, attempts had been made to profile criminals as devolved throwbacks, a perceived physical manifestation of their opposition to civilisation.<br />
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The cartoon is accompanied by a poem:<br />
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<i>A strange mad game to play in such a place!<br />
The monster City's maze, whose paths to trace<br />
Might tax another Theseus, the resort<br />
Of worse than Minotaurs, for blindfold sport<br />
Would seem the most unfitting of all scenes;<br />
What is it there such solemn fooling means?<br />
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Means? Ask purblind Municipal Muddledom<br />
The true significance of the City Slum.<br />
Ask, but expect no answer more exact<br />
Than blundering palterers with truth and fact<br />
Range in their pigeon-holes in order neat,<br />
The awkward questionings of sense to meet,<br />
And meeting, blandly baffle. Lurking crime<br />
Haunts from of old these dens of darksome slime.<br />
There, where well-armed authority fears to tread,<br />
Murder and outrage rear audacious head,<br />
Unscanned, untracked. As the swift-sliding snake<br />
Slips to the covert of the swamp's foul brake,<br />
Fearless of following where no foot may find<br />
Firm resting, where the foetid fumes that blind,<br />
The reeking mists that palsy, guard its lair;<br />
So Crime sneaks to the Slum's seclusion. There<br />
Revealing light, the foe of all things ill,<br />
With no intrusive ray floods in to fill<br />
Those hideous alleys, and those noisome nooks,<br />
With health and safety. Flush with limpid brooks<br />
The slime-fouled gutters of the Ghetto, drive<br />
Phinlimmon's breeze through Labour's choking hive,<br />
But let not light into the loathsome den.<br />
Where hags called women, ghouls in the guise of men<br />
Live on death-dealing, feed a loathly life,<br />
On the chance profits of the furtive knife.<br />
The robber's mountain haunt, the outlaw's cave,<br />
Guarded by rocks or sheltered by the wave<br />
From feet intrusive, furnish no such lair<br />
For desperate villany or dull despair,<br />
As this obscene Alsatia of the Slums.<br />
Town's carrion-hordes flock hither; hither comes<br />
The haggard harpy of the pavement, she<br />
The victim's victim, whose delirious glee<br />
Makes mirth a crackling horror; hither slink<br />
The waifs of passion and the wrecks of drink.<br />
Multiform wretchedness in rags and grime,<br />
Hopeless of good and ripe for every crime;<br />
A seething mass of misery and of vice,<br />
These grim but secret-guarding haunts entice.<br />
Look at those walls; they reek with dirt and damp,<br />
But in their shadows crouched the homeless tramp<br />
May huddle undisturbed the black night through.<br />
Those narrow winding courts - in thought - pursue.<br />
No light there reaks upon the bludgeoned wife,<br />
No flash of day arrests the lifted knife,<br />
There shrieks arouse not, nor do groans affright.<br />
These are but normal noises of the night<br />
In this obscure Gehenna. Must it be<br />
That the black slum shall furnish sanctuary<br />
To all light-shunning creatures of the slime,<br />
Vermin of vice, carnivora of crime?<br />
Must it be here that Mammon finds its tilth,<br />
And harvests gold from haunts of festering filth?<br />
How long? The voice of sense seems stricken dumb,<br />
What time the sordid Spectre of the Slum,<br />
Ruthless red-handed Murder sways the scene,<br />
Mocking of glance, and merciless of mien.<br />
Mocking? Ah, yes! At Law the ghoul may laugh,<br />
The sword is here as harmless as the staff<br />
Of crippled age; its sleuthhounds are at fault,<br />
Justice appears not only blind but halt.<br />
It seems to play a merely blinkered gamer,<br />
Blundering about without a settled aim,<br />
Like boys at Blind-Man's Buff. A pretty sport<br />
For Law's sworn guards in rascaldom's resort!<br />
The bland official formula to-day<br />
Seems borrowed from the tag of Nursery play,<br />
"Turn around three times," upon no settled plan,<br />
"Flounder and fumble, and "catch whom you can!"</i><br />
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Five days later, the famous 'Dear Boss' letter arrived at the Central News Agency, signed 'Jack', giving the killer his name in the media. The police would not release the letter, however, until 1st October.<br />
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The September 29th edition of <i>Punch</i> featured perhaps Tenniel's most famous Ripper cartoon, <i>The Nemesis of Neglect</i>. The killer, identity still unknown in reality, is a gruesome ghoul stalking the run-down streets of the East End. The phantom hovers over a ground littered with rubbish and broken bottles, while the top of a ladder peeking up at left hints at the multileveled, labyrinthine quality of these urban catacombs. Glass panes are broken; walls crumble; wooden doors are rotting away - the emphasis here is not so much on the incompetence of the police so much as the debauched and dystopian nature of society, from which such a spectre must inevitably rise. The media attention the Whitechapel murders attracted also drew attention to the level of prostitution in the area, a subject previously ignored.<br />
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Tenniel's skill as a draughtsman is evident here; he manages to create a very eerie, sinister atmosphere primarily through the use of lines and hatching. The semi-transparent density of the ghoul, who is framed against the receding darkness of the avenue in the background, emphasises the supernatural nature of the mystery surrounding the murders as perceived by the public.<br />
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As before, the cartoon was printed alongside a sizable text, beginning with a quote:<br />
<i><br />
</i><br />
<i>"Just as long as the dwellings of this race continue in their present condition, their whole surroundings a sort of warren of foul alleys garnished with the flaring lamps of the gin-shops, and offering to all sorts of lodgers, for all conceivable wicked purposes, every possible accomodation to further brutalise, we shall have still to go on - affecting astonishment that in such a state of things we have outbreaks, from time to time, of the horrors of the present day." - "S. G. O.," in Times of 18th September, in his Letter entitled, "At Last."</i><br />
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This is followed by another rhyming description of the scene:<br />
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<i>There is no light along those winding ways<br />
Other than lurid gleams like marsh-fires fleeting;<br />
Thither the sunniest of summer days<br />
Sends scarce one golden shaft of gladsome greeting.<br />
June noonday has no power upon its gloom<br />
More than the murky fog-flare of December;<br />
A Stygian darkness seems its settled doom;<br />
Life, like a flickering ember,<br />
There smoulders dimly on in deathly wise,<br />
Like sleep-dulled glitter in a serpent's eyes.<br />
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Yet as that sullen sinister cold gleam<br />
At sight of prey to a fierce flame shall quicken,<br />
So the dull life that lurks in this dread scene.<br />
By the sharp goad of greed or hatred stricken,<br />
Flares into hideous force and fierceness foul,<br />
Swift as the snake to spring and strong to capture.<br />
Here the sole joys are those of the man-ghoul.<br />
Thirst-thrill and ravin-rapture.<br />
Held DANTE's Circles such a dwelling-place?<br />
Did primal sludge e'er harbour such a race?<br />
It is not Hades, nor that world of slime<br />
Where dragons tare and man-shaped monsters fought.<br />
Civilisation's festering heart of crime<br />
Is here, and here some loathly glimpse is caught<br />
Of its barbaric beating, pulsing through<br />
Fair limbs and flaunting garb wherewith 'tis hidden.<br />
Mere human sewage? True, O Sage! Most true!<br />
Society's kitchen-midden!<br />
But hither crowd the ills which are our bane:<br />
And thence in viler shape creep forth again.<br />
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Whence? Foulness filters here from honest homes<br />
And thievish dens, town-rookery, rural village.<br />
Vice to be nursed to violence hither comes,<br />
Nurture unnatural, abhorrent tillage!<br />
What sin soever amidst luxury springs,<br />
Here amidst poverty finds full fruition.<br />
There is no name for the unsexed foul things<br />
Plunged to their last perdition<br />
In this dark Malebolge, ours - which yet<br />
We build, and populate, and then - forget!<br />
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It will not be forgotten; it will find<br />
A voice, like the volcano, and will scatter<br />
Such hideous wreck among us, deaf and blind,<br />
As all our sheltering shams shall rend and shatter.<br />
The den is dark, secluded, it may yield<br />
To Belial, a haunt, to Mammon profit;<br />
But we shall reap the tillage of that field<br />
In harvest meet for Tophet.<br />
Slum-farming knaves suck shameful wealth from sin,<br />
But a dread Nemesis abides therein.<br />
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Dank roofs, dark entries, closely-clustered walls,<br />
Murder-inviting nooks, death-reeking gutters,<br />
A boding voice from your foul chaos calls,<br />
When will men heed the warning that it utters?<br />
There floats a phantom on the slum's foul air,<br />
Shaping, to eyes which have the gift of seeing,<br />
Into that spectre of that loathly lair.<br />
Face it - for vain is fleeing!<br />
Red-handed, ruthless, furtive, unerect,<br />
'Tis murderous Crime - the Nemesis of Neglect!</i><br />
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It was in the wee hours of the very next morning that two more victims were discovered: Elizabeth Stride - whose murder may have been interrupted by the police - and Catherine Eddowes - a number of whose organs were removed, including a kidney supposedly enclosed in the second 'From Hell' letter of October 16.<br />
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Three days before this letter, Tenniel's final cartoon linked to the murders was released. <i>Whitechapel 1888</i> is the only cartoon of the three to refer specifically to the site of the murders, though the allusions in the first two are evident. The subject of the cartoon is again the lack of effectiveness of the police. A policeman at left seems oblivious to the two members of the 'Criminal Class' - more devolved thugs with ape-like physiognomy - who lurk in the foreground. The policeman is unlikely to find many unseemly characters around the gaslight he patrols near.<br />
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The text accompanying this cartoon is considerably shorter than before:<br />
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<i>FIRST MEMBER OF CRIMINAL "CLASS." "FINE BODY OF MEN, THE PER-LEECE!"<br />
SECOND DITTO. "UNCOMMON FINE! - IT'S LUCKY FOR HUS AS THERE'S SECH A BLOOMIN' FEW ON 'EM!!!"<br />
"I have to observe that the Metropolitan Police have not large reserves doing nothing and ready to meet emergencies; but every man has his duty assigned to him, and I can only strengthen the Whitechapel district by drawing men from duty in other parts of the Metropolis." - Sir Charles Warren's Statement.<br />
"There is one Policeman to every seven hundred persons." - Vide Recent Statistics</i><br />
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Sir Charles Warren, quoted above in the caption to the cartoon, eventually became fed up with all the criticism and resigned several days later, just before the body of Mary Jane Kelly - probably the Ripper's final victim - was found in a rather sorry state.Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-5925583907090780482010-01-10T11:49:00.000-08:002010-01-10T11:49:23.237-08:00Portfolio and CV<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/_6v42sYAPdPw/S0ouW1zh1sI/AAAAAAAABCc/AvmPPdgyQDU/s1600-h/sketch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/_6v42sYAPdPw/S0ouW1zh1sI/AAAAAAAABCc/AvmPPdgyQDU/s320/sketch.jpg" /></a><br />
</div>I've recently updated my CV and Portfolio, combining them as a single pdf. Included in the document are quite a few of my published and unpublished drawings, including many that aren't on the main site. If you want a copy, comment on this post with your email address, or <a href="mailto:lukefarookhi@aol.com">email me</a>.Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-16659605025856883422009-12-28T13:59:00.001-08:002010-02-13T18:18:57.421-08:00Ten classics Gustave Dore should have illustrated, but didn'tQuite a long post today, to make up for the lack of recent updates. There are a lot of big images here, so this may take a while to load.<br />
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Throughout his career as an illustrator Gustave Dore proved that he could adapt to a variety of genres. Despite his productivity and his ambition to illustrate all of the world literary classics, he didn't get around to illustrating everything. There are a number of reasons; in his biography of Dore Dan Malan notes that publishers would rarely pay for both a great author and a great illustrator, so most of the Dore illustrated classics are public domain properties. In a couple of cases, seminal illustrations for these works had been released by other artists, and Dore steered clear. The final few on this list were never illustrated by Dore simply because he died before they were written.<br />
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I've picked ten classics of literature which I feel it was a pity he never illustrated, listed below in chronological order.<br />
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<span style="font-weight: bold;">1. Geoffrey Chaucer, </span><span style="font-style: italic; font-weight: bold;">The Canterbury Tales</span><span style="font-weight: bold;"> (late 14th C)</span><br />
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Despite the inspiration Chaucer offers artists, there have been relatively few illustrated editions of the <span style="font-style: italic;">Tales</span>. Perhaps the varying styles of the stories themselves have presented a challenge. Manuscripts of the <span style="font-style: italic;">Tales</span>, such as the Ellesmere Chaucer, tend to illustrate only the pilgrims. Later illlustrated versions contain some interesting illustrations of the stories themselves, but my favourite illustrations are the portraits of the pilgrims by James Jeffrys, which were never published in his lifetime. The Kelmscott Chaucer, designed by William Morris and illustrated by Sir Edward Burne-Jones, is one of the most beautiful books ever made. In 2008 Barry Moser, perhaps the greatest living illustrator, mentioned an ambition to print his own illustrations.<br />
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The many different styles of the individual tales could be said to have been covered by Dore at different points in his career. The Arthurian setting for the Wife of Bath's Tale most obviously appears in his <span style="font-style: italic;">Idylls of the King</span> illustrations (above). Demons as they appear in the Friar's and Prioress' tale, amongst others, are comparable visually to the cast of <span style="font-style: italic;">Dante</span> and <span style="font-style: italic;">Paradise Lost</span>. The atmosphere of the Knight's Tale is very present in Dore's illustrations for <span style="font-style: italic;">The Crusades</span> and <span style="font-style: italic;">Orlando Furioso</span>.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SAEDRjtw1UI/AAAAAAAAAO8/PghZeVQ0SF8/s1600-h/balzac350.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SAEDRjtw1UI/AAAAAAAAAO8/PghZeVQ0SF8/s320/balzac350.jpg" alt="" id="BLOGGER_PHOTO_ID_5188431845887366466" border="0" /></a><br />
Burne-Jones, for all the beauty of his illustrations, can not be said to have created the definitive illustrated Chaucer: the Kelmscott Chaucer only features illustrations for the more pious stories, like the Knight's and Prioress' tales. Dore, however, would have been comfortable not only with the nobler subjects, but also the more vulgar, bawdy tales - like those of the Miller, the Reeve and the Cook. He would have had particular fun with part of the prologue to the Summoner's tale, in which a demon asks Satan to 'lift up thy ars', and a swarm of friars flies out of the devil's anus. Dore had already perfected comical monks in his <span style="font-style: italic;">Contes Drolatiques</span> illustrations (above).<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SzkcCulzZiI/AAAAAAAABBA/SnxK34Y5Hew/s1600-h/276+LE+SUCCUBE.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 191px; height: 320px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SzkcCulzZiI/AAAAAAAABBA/SnxK34Y5Hew/s320/276+LE+SUCCUBE.jpg" alt="" id="BLOGGER_PHOTO_ID_5420394459709007394" border="0" /></a><br />
But Dore would probably have had the most fun with the Pardoner's tale, in which three crooks try to capture and kill Death, but end up, like all the rest of us, ensnared by their prey. Death appears in Dore's work more than any other figure, particularly in <span style="font-style: italic;">Contes Drolatiques</span> (above), <span style="font-style: italic;">The Rime of the Ancient Mariner</span> (below) and <span style="font-style: italic;">The Raven</span>.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SzkcnojF0YI/AAAAAAAABBI/spZWSSoGmmw/s1600-h/mariner14.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 276px; height: 400px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SzkcnojF0YI/AAAAAAAABBI/spZWSSoGmmw/s400/mariner14.jpg" alt="" id="BLOGGER_PHOTO_ID_5420395093742178690" border="0" /></a><br />
Dore probably never illustrated Chaucer because he wasn't terribly good with English, and Shakespeare was far more popular and accessible. But even though it was his ambition to produce a lavishly illustrated Shakespeare, I can't help thinking that Chaucer would have served Dore better. His illustrations for <span style="font-style: italic;">Don Quixote</span> and <span style="font-style: italic;">Rabelais</span> in particular show that he would have had little trouble finding an appropriate style for portraits of the pilgrims.<br />
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<span style="font-weight: bold;">2. </span><span style="font-style: italic; font-weight: bold;">One Thousand and One Nights</span><span style="font-weight: bold;"> (first appeared in Europe 1704)</span><br />
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'The <span style="font-style: italic;">Arabian Nights</span> is more generally loved generally loved than Shakespeare,' declared Robert Louis Stevenson. 'No human face or voice greets us among (this) crowd of kings and genies, sorcerers and beggarmen. Adventure, on the most naked terms, furnishes forth the entertainment and is found enough.' The appeal of these stories is their pure fantasy. The one thousand cliffhangers are all placed such that the reader persists until the end of the entire book. It has probably been illustrated more times than any other book on this list (with the possible exception of <span style="font-style: italic;">Grimm's Fairy Tales</span>), though rarely in its entirety. Particularly fine illustrations have been done by Edmund Dulac and Maxfield Parrish, but my personal favourites are probably those by Rene Bull in 1912. Many of the stories have been released individually: there is an excellent illustrated <span style="font-style: italic;">Sindbad</span> by Quentin Blake.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/Szkn262RvrI/AAAAAAAABBY/HiViLxI_-Bs/s1600-h/080.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 243px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/Szkn262RvrI/AAAAAAAABBY/HiViLxI_-Bs/s320/080.jpg" alt="" id="BLOGGER_PHOTO_ID_5420407450980433586" border="0" /></a><br />
With his work ethic, Dore is one of the few artists who could have illustrated all of the <span style="font-style: italic;">Arabian Nights</span>, probably with time to spare. The speed with which he executed the <span style="font-style: italic;">Orlando Furioso</span> illustrations (above and below) suggests a passion for myth and fantasy - is there any work of literature that offers fantasy more copiously than the <span style="font-style: italic;">Nights</span>, with their sublime worlds of castles, caves and clouds, and an endless cast of Genies, giants, magicians and ghouls? He would have had perhaps more fun than with any other subject.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SzkoLheDjqI/AAAAAAAABBg/doB1z4sXMps/s1600-h/146.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 319px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SzkoLheDjqI/AAAAAAAABBg/doB1z4sXMps/s400/146.jpg" alt="" id="BLOGGER_PHOTO_ID_5420407804945206946" border="0" /></a><br />
He presumably didn't illustrate the whole thing because it would have been too expensive. It's difficult to think of how a lavishly illustrated edition could be published and sold affordably; perhaps the <span style="font-style: italic;">Arabian Nights</span> could have been released periodically in volumes, though it would have been an enormous set. But according to Edmund Ollier, Dore was planning to illustrate the <span style="font-style: italic;">Nights</span> after his never completed Shakespeare illustrations.<br />
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Dore did actually do nine full-page illustrations and eleven vignettes for a small but famous part of the Arabian Nights: the story of Sindbad the Sailor, and his Seven Voyages. Of these, the most striking is probably the image of Sindbad being lowered into the tomb, where he will be buried alive. The Sindbad illustrations are very scarce but worth a look. Ray Harryhausen has acknowledged the influence of Dore's fantasy illustrations on his work in films.<br />
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<span style="font-weight: bold;">3. Jonathan Swift, </span><span style="font-style: italic; font-weight: bold;">Gulliver's Travels</span><span style="font-weight: bold;"> (1726)</span><br />
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Jonathan Swift's classic takes the hero through four distinct worlds, each with its own perils and delights. Of course, one of Gulliver's voyages inspired the 1939 Fleischer film. My favourite illustrations are those by Grandville, which I'll cover in more detail later.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SzkpfGsMnQI/AAAAAAAABBo/K-iUq5tjmNA/s1600-h/151.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 211px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SzkpfGsMnQI/AAAAAAAABBo/K-iUq5tjmNA/s320/151.jpg" alt="" id="BLOGGER_PHOTO_ID_5420409240865774850" border="0" /></a><br />
This would have been an ideal subject for Dore, with its fantastical locations and tremendous scale mixed with humour. The tone is comparable to <span style="font-style: italic;">Baron Munchausen</span> (above), <span style="font-style: italic;">Rabelais</span> and <span style="font-style: italic;">Don Quixote</span>, which Dore demonstrated a particular affinity with.<br />
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The most influential artist on Dore's work in his early career was J. J. Grandville, undoubtedly one of the greatest illustrators of all time. Grandville is best known for his illustrations for <span style="font-style: italic;">Un Autre Monde</span> in 1844, which were appropriated by the Surrealists in the 20th Century. He saw the young Dore's drawings and encouraged him to persist. We can see how much Dore admired Grandville in his childhood drawings of dogs, insects and other creatures acting like civilised people. Yet a comparison between the way the two illustrators interpreted the <span style="font-style: italic;">Fables of LaFontaine</span> demonstrates just how much Dore changed later on in his career.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SzkggTPujaI/AAAAAAAABBQ/OZzk_VTa4B0/s1600-h/008.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 245px; height: 320px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SzkggTPujaI/AAAAAAAABBQ/OZzk_VTa4B0/s320/008.jpg" alt="" id="BLOGGER_PHOTO_ID_5420399365811244450" border="0" /></a><br />
Anyway, it was with Dore's <span style="font-style: italic;">Rabelais</span> illustrations of 1854 (above) that he first emerged as a serious illustrator of literature. A comparison shows that Grandville's 450 <span style="font-style: italic;">Gulliver</span> illustrations must have been at least part of Dore's inspiration when he tackled <span style="font-style: italic;">Rabelais</span>. Both feature giant and/or midget characters; both refer to the more animalistic instincts of humanity; both use humour. <span style="font-style: italic;">Rabelais</span> is much more vulgar than <span style="font-style: italic;">Gulliver</span>, though Grandville did manage to sneak in an illustration of Gulliver extinguishing a fire in Lilliput in unorthodox fashion, anticipating the deluge of bodily functions in Rabelais.<br />
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<div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SUqm4Xm36eI/AAAAAAAAAog/g2kcyPmaLgU/s1600-h/036.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 317px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SUqm4Xm36eI/AAAAAAAAAog/g2kcyPmaLgU/s400/036.jpg" alt="" id="BLOGGER_PHOTO_ID_5281217000385276386" border="0" /></a><br />
Dore may have felt that any version he could come up with would have been too similar to Grandville's interpretation. But I think his take on the material would have been sufficiently original in his later career, such as when he returned to <span style="font-style: italic;">Rabelais</span> in 1873 with some of his very best creations (above).<br />
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<span style="font-weight: bold;">4. Jacob and Wilhelm Grimm, </span><span style="font-style: italic; font-weight: bold;">Children's and Household Tales</span><span style="font-weight: bold;"> (1812)</span><br />
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These stories were all adapted from German folk tales. They are perhaps the most famous of fairy tales and have been illustrated many times. Particularly famous are those by Arthur Rackham, Charles Robinson, Kay Nielsen, Walter Crane and, perhaps my favourite, George Cruikshank. You have probably all seen Disney's <span style="font-style: italic;">Snow White</span>, based on the Grimms' most famous story.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SzkYPLISWxI/AAAAAAAABAw/35JZnOs0YvY/s1600-h/perrault17.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 305px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SzkYPLISWxI/AAAAAAAABAw/35JZnOs0YvY/s400/perrault17.jpg" alt="" id="BLOGGER_PHOTO_ID_5420390275481754386" border="0" /></a><br />
Dore had already illustrated the <span style="font-style: italic;">Contes</span> of Charles Perrault in 1862, demonstrating an ability to illustrate fairy tales well (above). The Perrault illustrations have a decidedly Germanic flavour, which is why I have picked the Grimm's tales as appropriate material for Dore, but he really could have tackled other fairy tales, such as those of Hans Christian Andersen. But the frequency of monsters, witches and ogres in the Grimm's stories makes them the most ideal candidate.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SzkXli7cVQI/AAAAAAAABAo/U5Fzjx-Dv1U/s1600-h/perrault09.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 301px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SzkXli7cVQI/AAAAAAAABAo/U5Fzjx-Dv1U/s400/perrault09.jpg" alt="" id="BLOGGER_PHOTO_ID_5420389560315827458" border="0" /></a><br />
Even though they were presumably aimed at a younger audience, Dore's Perrault illustrations are probably the most frightening he ever drew. Particularly chilling are the bed scenes, such as the famous <span style="font-style: italic;">Red Riding Hood</span> illustration and the ogre's scene in <span style="font-style: italic;">Hop o' my Thumb</span> (above and below). I can't help but think of a moment in the Grimms' <span style="font-style: italic;">Hansel and Gretel</span>:<br />
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'Early in the morning before the children were up, she got out of bed and gazed at the two of them sleeping so peacefully with their soft red cheeks. And she muttered quietly to herself: "They will make a tasty little morsel."'<br />
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One can only imagine the terror and sexual intensity Dore could have endowed an illustration of this scene with.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SzkXQJ0CctI/AAAAAAAABAg/YL4u-fw69k4/s1600-h/perrault31.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 308px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SzkXQJ0CctI/AAAAAAAABAg/YL4u-fw69k4/s400/perrault31.jpg" alt="" id="BLOGGER_PHOTO_ID_5420389192796631762" border="0" /></a><br />
<span style="font-weight: bold;">5. Johann Wolfgang von Goethe, <span style="font-style: italic;">Faust</span> (1806, 1832)</span><br />
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A seminal interpretation of the popular legend of Doctor Faustus, giving rise to many more artistic interpretations. A few highlights of many: Peter Cornelius created some fine illustrations in 1816. Moritz Reitsch replaced the Germanic roots of the story with Classical influences in his illustrations of the same year. Eugene Delacroix's 1827 <span style="font-style: italic;">Faust</span> lithographs introduced Romantic illustration to France. A beautiful, lavish set of illustrations by Harry Clarke was published in 1926; see my post about them <a href="http://lukefarookhi.blogspot.com/2009/03/harry-clarke-and-goethes-faust.html">here</a>. There is also F. W. Murnau's amazing film, also released in 1926.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SzkVw38pi3I/AAAAAAAABAQ/3Qm-0r7c04c/s1600-h/04.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 306px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SzkVw38pi3I/AAAAAAAABAQ/3Qm-0r7c04c/s400/04.jpg" alt="" id="BLOGGER_PHOTO_ID_5420387555913337714" border="0" /></a><br />
Edmund Ollier suggested Goethe's masterpiece as a good subject for Dore to illustrate in his Essay in <span style="font-style: italic;">The Dore Gallery</span>. The Germanic setting is familiar in his illustrations for <span style="font-style: italic;">Contes Drolatiques </span>and <span style="font-style: italic;">The Wandering Jew</span> (above). No doubt he would have relished scenes of violence such as the duel with Valentin, or atmospheric horror scenes like the witch's kitchen. Demons appear in Dore's illustrations as often as the text will allow, from <span style="font-style: italic;">Rabelais</span> to <span style="font-style: italic;">Dante's Inferno</span> and <span style="font-style: italic;">Paradise Lost</span><span> (below)</span>; we can only imagine how he could have depicted such a devil as Mephistopheles.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SzkWSYs07wI/AAAAAAAABAY/G8PJS6zRfvs/s1600-h/milton12.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 321px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SzkWSYs07wI/AAAAAAAABAY/G8PJS6zRfvs/s400/milton12.jpg" alt="" id="BLOGGER_PHOTO_ID_5420388131641028354" border="0" /></a><br />
I think the reason Dore didn't illustrate it is similar to the likely reason he didn't tackle <span style="font-style: italic;">Gulliver</span>, only this time it was Delacroix's heels he didn't want to tread on. As I mentioned above, Eugene Delacroix had illustrated <span style="font-style: italic;">Faust</span> in 1827. There were only seventeen lithographs but they are among the most famous illustrations of any period, and are perhaps the defining illustrations of the era Dore was working in. Goethe himself had praised them, even admitting that they at times surpassed his text.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SzkU_ZKqW1I/AAAAAAAABAI/Yjwd7TUBi78/s1600-h/dante068.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 295px; height: 234px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SzkU_ZKqW1I/AAAAAAAABAI/Yjwd7TUBi78/s320/dante068.jpg" alt="" id="BLOGGER_PHOTO_ID_5420386705837022034" border="0" /></a><br />
It is also worth noting that there was no artist Dore respected and admired more than Delacroix. The influence can be seen in his work. There is little doubt that Delacroix's <span style="font-style: italic;">The Barque of Dante </span>was in Dore's mind when he illustrated the <span style="font-style: italic;">Inferno </span>(above). The <span style="font-style: italic;">Faust</span> lithographs may have had an even bigger influence. The theatrical composition of Dore's folio engravings - the scenes are never viewed from an extreme angle - may owe something to the staginess of the layout in the <span style="font-style: italic;">Faust</span> lithographs, which may in turn have been influenced by the theatrical production of <span style="font-style: italic;">Faust</span> that would initially inspire Delacroix to illustrate the subject. The list of influences goes on, but I'll save them for another post. I do think, however, that Dore's style was sufficiently different to that of Delacroix, such that his own <span style="font-style: italic;">Faust</span> could have been an original take.<br />
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6. Victor Hugo, </span><span style="font-style: italic; font-weight: bold;">Notre Dame de Paris</span><span style="font-weight: bold;"> (1831)</span><br />
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An excellent novel with a cast of well-defined characters that lends itself well to illustration. There have been a few illustrated <span style="font-style: italic;">Hunchback</span>s, with A. de Lemud's illustrations of 1844 a particular highlight. Fans should also watch the classic film starring Lon Chaney, which is in the public domain, so must be downloadable somewhere online.<br />
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In a way, Dore sort illustrated this one - he did a few drawings and watercolours, but no published illustrations, and he was never commissioned to illustrate it. The story is dominated by its Gothic setting, an appropriate stage for the extremes of passion and emotion that will take place. The gargoyles and spires of Notre Dame would have been ideal for Dore to illustrate, familiar as he was with Strasbourg cathedral, a mass of spires so densely populated with gargoyles that Notre Dame is a ghost town in comparison. (Incidentally, fans of the creatures of Strasbourg cathedral would do well to seek out a copy of <span style="font-style: italic;">Cathedrale</span> by John Howe.) Dore grew up in Strasbourg and passed the enormous cathedral every day. He became acquainted with the beautiful architecture and entranced by the legends attached to it. We can see how it informed his illustrations, particularly the world of <span style="font-style: italic;">Contes Drolatiques</span> and <span style="font-style: italic;">Rabelais</span>, with their forests of spires and steeples.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SzkS1lQQfLI/AAAAAAAABAA/vWQZBLc4N6E/s1600-h/138.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 229px; height: 320px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SzkS1lQQfLI/AAAAAAAABAA/vWQZBLc4N6E/s320/138.jpg" alt="" id="BLOGGER_PHOTO_ID_5420384338259770546" border="0" /></a><br />
Of course, for much of his professional career Dore lived and worked in Paris. He depicted Notre Dame in his 1873 <span style="font-style: italic;">Rabelais</span>, in which the giant Gargantua steals the cathedral's bells and an embassy from Paris begs him to give them back. Gargantua himself almost becomes one with the architecture in this illustration which demonstrates Dore's skill at depicting crowd scenes. Robin Allan speculates that it may have been a source for Disney's <span style="font-style: italic;">Hunchback of Notre Dame</span>.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SUqmTw31amI/AAAAAAAAAoQ/LINPOb-AqPg/s1600-h/014.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 316px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SUqmTw31amI/AAAAAAAAAoQ/LINPOb-AqPg/s400/014.jpg" alt="" id="BLOGGER_PHOTO_ID_5281216371512142434" border="0" /></a></div><div><br />
As in <span style="font-style: italic;">Rabelais</span> (below) and <span style="font-style: italic;">Contes Drolatiques</span>, Dore would have been given the opportunity to depict the carnivalesque in the celebrations of the Feast of Fools. In his writings Victor Hugo declared a great admiration for Rabelais, so was as sympathetic to his world as Dore had proved to be.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SzkRxZQyuWI/AAAAAAAAA_4/6UGj63V4nq8/s1600-h/004.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 263px; height: 320px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SzkRxZQyuWI/AAAAAAAAA_4/6UGj63V4nq8/s320/004.jpg" alt="" id="BLOGGER_PHOTO_ID_5420383166809684322" border="0" /></a><br />
Yet another reason Dore should have illustrated the novel is that he and Victor Hugo were friends. In 1866 Dore drew two small illustrations for Hugo's <span style="font-style: italic;">Toilers of the Sea</span>, described by Dan Malan as 'barely an appetizer, by Dore's standards' (see a sketch below); Hugo, then out of Paris, wrote a letter to the illustrator expressing his immeasurable praise for these little engravings: 'your octopus is frightful, and your Gilligat is grand... To you I shall furnish the opportunity to create another monument.'<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/Szj3hUQxIuI/AAAAAAAAA_w/QyMctm-gGvI/s1600-h/gilliat+struggles+with+the+giant+octopus.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 306px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/Szj3hUQxIuI/AAAAAAAAA_w/QyMctm-gGvI/s400/gilliat+struggles+with+the+giant+octopus.jpg" alt="" id="BLOGGER_PHOTO_ID_5420354303287173858" border="0" /></a><br />
Hopefully Hugo's book will someday be published with the few drawings and watercolours Dore did make of the novel, but it deserved a proper set of illustrations. We have only a tantalising glimpse of what could have been.<br />
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<span style="font-weight: bold;">7. Bram Stoker, </span><span style="font-style: italic; font-weight: bold;">Dracula</span><span style="font-weight: bold;"> (1897)</span><br />
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The second of what Stephen King has dubbed the 'Unholy Trinity' of Gothic Horror, the other two being <span style="font-style: italic;">Frankenstein</span> and <span style="font-style: italic;">Strange Case of Dr. Jekyll and Mr. Hyde</span>. Considering the number of movie adaptations that have been made, there have been relatively few illustrated editions of Dracula. This October saw the release of an abridged version for children with illustrations by Anne Yvonne Gilbert, which are beautiful but, ultimately, inaccurate to the spirit of the text and the character - the sympathetic, beautiful Dracula of these images perhaps owes more to <span style="font-style: italic;">Twilight</span> than Stoker. The 1997 illustrations by Tudor Humphries are excellent, an original but accurate take on the character. But the best illustrations are probably those by Barry Moser (who is, incidentally, something of a successor to Dore).<br />
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This is the first book on this list which it was physically impossible for Dore to illustrate - it was published fourteen years after his death. But the lingering terror in many of his illustrations, as well as his passion for the gothic and grotesque, is very appropriate to Stoker's novel.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/Szi_t_yZeYI/AAAAAAAAA_o/b6GdtPQiuTg/s1600-h/poeNevermore.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 271px; height: 400px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/Szi_t_yZeYI/AAAAAAAAA_o/b6GdtPQiuTg/s400/poeNevermore.jpg" alt="" id="BLOGGER_PHOTO_ID_5420292948478228866" border="0" /></a><br />
Gordon N. Ray found that Dore's illustrations for Poe's <span style="font-style: italic;">The Raven</span> (above) 'could serve equally well for Bram Stoker's <span style="font-style: italic;">Dracula</span>'. Combine these with <span style="font-style: italic;">London; A Pilgrimage</span>, the decaying faces and crumbling castles of <span style="font-style: italic;">Contes Drolatiques</span> and the demonic intensity of <span style="font-style: italic;">Dante's Inferno</span> (below) and you could quite comfortably fill an entire book, with images to spare.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/Szi_X_LZnPI/AAAAAAAAA_g/twNPEN7rJtk/s1600-h/dante027.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 312px; height: 400px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/Szi_X_LZnPI/AAAAAAAAA_g/twNPEN7rJtk/s400/dante027.jpg" alt="" id="BLOGGER_PHOTO_ID_5420292570357538034" border="0" /></a><br />
Even though he never directly illustrated it, Dore still contributed to the iconography commonly associated with Dracula. The famous 1931 film adaptation by Todd Browning is generally disappointing visually save for some of the Transylvania scenes. The script included the direction that the scene where the disguised Dracula picks up his English visitor by coach should look 'like a Dore steel engraving'. Elements of Dore can be found in virtually every Dracula film from <span style="font-style: italic;">Nosferatu</span> to <span style="font-style: italic;">Van Helsing</span> (the winged vampire brides in Stephen Sommer's film are dead ringers for the Gorgons of Dore's <span style="font-style: italic;">Dante</span>, though curiously with no nipples). 1934 saw the release of Max Ernst's surreal collage novel in five pamphlets, <span style="font-style: italic;">Une Semaine de Bonte</span>. The transformations and oneiric visions owe much to Grandville, but the elements of horror are very evocative of Dore. The red pamphlet for <span style="font-style: italic;">Tuesday: The Court of the Dragon</span> shows the inhabitants of a bourgeois household sprouting vampire wings. The wings in these collages are taken from Dore's <span style="font-style: italic;">Paradise Lost</span> illustrations. I will do some posts on <span style="font-style: italic;">Une Semaine de Bonte</span> soon.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/Szi-JhiKJFI/AAAAAAAAA_Y/X-ZQh0ckLlI/s1600-h/falotte+copy.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 207px; height: 320px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/Szi-JhiKJFI/AAAAAAAAA_Y/X-ZQh0ckLlI/s320/falotte+copy.jpg" alt="" id="BLOGGER_PHOTO_ID_5420291222370133074" border="0" /></a><br />
Mel Brooks' 1995 spoof <span style="font-style: italic;">Dracula Dead and Loving It</span> uses three of the <span style="font-style: italic;">Dante</span> illustrations (the first, third and seventh images) and one from <span style="font-style: italic;">Contes Drolatiques</span> (the twenty second, final image, above) in its opening credits (below).<br />
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Also used here are two images from <span style="font-style: italic;">Une Semaine de Bonte</span> (the second and tenth images); Fuseli's two <span style="font-style: italic;">Nightmare</span> images (the eleventh and eighteenth images); two illustrations from 1845-7's <span style="font-style: italic;">Varney the Vampire</span> (the thirteenth and sixteenth images); 'The Consequences' from Goya's <span style="font-style: italic;">Disasters of War</span> (the fifth image) and 'They Carried Her off' from his <span style="font-style: italic;">Caprichos</span> (the fifteenth image); and an illustration from <span style="font-style: italic;">Le Diable Amoureux</span> (the seventeenth image). I'm unable to identify the fourth, sixth, eighth, ninth, twelfth, fourteenth, nineteenth and twentieth images.<br />
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<span style="font-weight: bold;">8. Edgar Allen Poe, </span><span style="font-style: italic; font-weight: bold;">Tales of Mystery & Imagination</span><span style="font-weight: bold;"> (1908)</span><br />
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One of the greatest writers - perhaps the greatest - of horror fiction. Edmund Dulac and Arthur Rackham both illustrated Poe. But the seething terror of the text is perhaps best depicted in the swirling decadence of Harry Clarke's illustrations, which you can see on the excellent <a href="http://ajourneyroundmyskull.blogspot.com/2009/05/harry-clarke-illustrations-for-e-poe.html">A Journey Round my Skull</a>. <span style="font-style: italic;">Nightmares in Decay: The Edgar Allen Poe Illustrations of Harry Clarke</span> will be released on June 30 2010.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/Szi89LwRxjI/AAAAAAAAA_Q/Gd1dGjAZE2Q/s1600-h/poe12.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 273px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/Szi89LwRxjI/AAAAAAAAA_Q/Gd1dGjAZE2Q/s400/poe12.jpg" alt="" id="BLOGGER_PHOTO_ID_5420289910853715506" border="0" /></a><br />
The <span style="font-style: italic;">Tales</span> were first gathered in the same volume in 1908, but of course they were written much earlier, all well within Dore's lifetime. Dore illustrated Poe's <span style="font-style: italic;">The Raven</span> (above and below), but before publication he died - possibly from sorrow, from the loss not of Lenore but of his overbearing mother, without whom he couldn't function. It's a pity Dore didn't get started on Poe earlier. The main reason seems to have been that the publishers were waiting for the copyright on Poe to expire. Dore's Raven coincided with Poe's entry into the public domain almost to the day.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/Szi8fsYj9mI/AAAAAAAAA_I/yfod5Of5Xxg/s1600-h/poe18.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 261px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/Szi8fsYj9mI/AAAAAAAAA_I/yfod5Of5Xxg/s400/poe18.jpg" alt="" id="BLOGGER_PHOTO_ID_5420289404216538722" border="0" /></a><br />
Dore would surely have been excited and inspired by the Tales had he been given the task to illustrate them, with their emphasis on terror, death, pain, madness and mysticism. The spectre of Death, so familiar a figure in Dore's work, would have been allowed many more outings, appearing in person in <span style="font-style: italic;">The Masque of the Red Death</span> and lurking about in the metaphysical background of the other stories, as he does in <span style="font-style: italic;">The Raven</span> (below).<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/Szi7cgIqb7I/AAAAAAAAA_A/2Kwu42AUvII/s1600-h/poe08.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 272px; height: 400px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/Szi7cgIqb7I/AAAAAAAAA_A/2Kwu42AUvII/s400/poe08.jpg" alt="" id="BLOGGER_PHOTO_ID_5420288249877393330" border="0" /></a><br />
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<span style="font-weight: bold;">9. Mervyn Peake, </span><span style="font-style: italic; font-weight: bold;">Gormenghast</span><span style="font-weight: bold;"> (1946-1959)</span><br />
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One of my all-time favourite books. To my knowledge there has never been an illustrated version, though Peake himself sketched the characters and once made drawings for a proposed <span style="font-style: italic;">Gormenghast</span> opera. It is a pity there is not a more complete set of illustrations from the author himself.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/Szi4FezyAbI/AAAAAAAAA-w/nbwRq7ZbPDM/s1600-h/283+GUILLAUME+TOURNEBOUSCHE,+Rubricquateur+du+Chapitre,+homme+docte.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 198px; height: 320px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/Szi4FezyAbI/AAAAAAAAA-w/nbwRq7ZbPDM/s320/283+GUILLAUME+TOURNEBOUSCHE,+Rubricquateur+du+Chapitre,+homme+docte.jpg" alt="" id="BLOGGER_PHOTO_ID_5420284555849499058" border="0" /></a><br />
Another one that Dore never lived to see - he was maybe born a century too early. The Gormenghast trilogy seems ideally suited to Dore's style, particularly the first two, which recall his <span style="font-style: italic;">Contes Drolatiques</span> illustrations, with their endless cast of grotesque characters (above) and enormous, gothic mise en scene (below). The whole thing is tailored to Dore perfectly - the crumbling but steadfast walls of the immense castle; the forest of roofs up above; the characters, from the hideous (Chef Swelter, Secretary Barquentine) to the eccentric (Professor Bellgrove, Irma Prunesquallor) to the just plain mad (Nannie Slagg, Lord Sepulchrave).<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/Szi3YdZcOFI/AAAAAAAAA-o/lRpl0NfqPZo/s1600-h/217.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 198px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/Szi3YdZcOFI/AAAAAAAAA-o/lRpl0NfqPZo/s320/217.jpg" alt="" id="BLOGGER_PHOTO_ID_5420283782376470610" border="0" /></a><br />
Incidentally, Mervyn Peake was an excellent illustrator himself. His drawings for the <span style="font-style: italic;">Alice</span> books are arguably the most sympathetic to Lewis Carroll's sense of humour than any other set of illustrations. His son Sebastian was the model for Jim Hawkins in his amazing <span style="font-style: italic;">Treasure Island</span> drawings. I also love his interpretation of <span style="font-style: italic;">Strange Case of Dr. Jekyll and Mr. Hyde</span>. Like Dore, he produced an amazing set of illustrations for <span style="font-style: italic;">The Rime of the Ancient Mariner</span>. Before he died he had begun a set of illustrations for a proposed Folio Society edition of <span style="font-style: italic;">Contes Drolatiques</span>.<br />
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<span style="font-weight: bold;">10. J. R. R. Tolkien, </span><span style="font-style: italic; font-weight: bold;">The Lord of the Rings</span><span style="font-weight: bold;"> (1954-1955)</span><br />
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Another great 20th Century trilogy. One of the finest stories ever written, and the closest Britain has come to having its own home-grown mythology. Tolkien himself drew many of the locations and scenes he described, most famously creating the maps of Middle Earth and Arda that appear in all of his books. The world he created has continued to inspire artists. For several years the Brothers Hildebrandt executed lavish oil paintings for Tolkien-themed calendars. John Howe and Alan Lee are the most famous Tolkien illustrators; both worked on Peter Jackson's film trilogy. Ian Miller has also done some amazing illustrations inspired by Tolkien. The best illustrations, however, are probably by Ted Nasmith.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SzizG9hfGYI/AAAAAAAAA-Y/-5pfKr-SSRM/s1600-h/ariosto073.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 322px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SzizG9hfGYI/AAAAAAAAA-Y/-5pfKr-SSRM/s400/ariosto073.jpg" alt="" id="BLOGGER_PHOTO_ID_5420279083715991938" border="0" /></a><br />
Again, this is an incident where Dore was born a century too early. Then again, many often quip that Tolkien was born at least one century too late, so we can blame him too. All of Tolkien's work, from <span style="font-style: italic;">The Lord of the Rings</span> and <span style="font-style: italic;">The Hobbit</span> to <span style="font-style: italic;">The Silmarillion</span> and <span style="font-style: italic;">The Unfinished Tales</span>, would have been excellent material for Dore to illustrate. The atmosphere of Dore's <span style="font-style: italic;">Orlando Furioso</span> (above) is comparable that of Tolkien's epic world, with its fantastical creatures and enormous battles.<br />
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<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SziwqAZGI1I/AAAAAAAAA-Q/j-lCYWIt3ps/s1600-h/croquetimaine05.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 270px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SziwqAZGI1I/AAAAAAAAA-Q/j-lCYWIt3ps/s400/croquetimaine05.jpg" alt="" id="BLOGGER_PHOTO_ID_5420276387246646098" border="0" /></a><br />
The vaguely Pre-Raphaelite world of the Elves would have a similar look to the <span style="font-style: italic;">Idylls of the King</span> illustrations. But Dore would have been most at home with monsters like Shelob and Ungoliant (see in particular his <span style="font-style: italic;">Legende de Croque-Mitaine</span> illustrations, above) and the evil parts of Middle earth, particularly Udun and Mordor, which is not dissimilar to the hell of <span style="font-style: italic;">Dante</span> (below) in appearance.</div><br />
<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SzizmNZyFSI/AAAAAAAAA-g/d0_Bwkj1b10/s1600-h/dante039.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 312px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SzizmNZyFSI/AAAAAAAAA-g/d0_Bwkj1b10/s400/dante039.jpg" alt="" id="BLOGGER_PHOTO_ID_5420279620554593570" border="0" /></a>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com3tag:blogger.com,1999:blog-5035391127486680959.post-61631901066638800352009-08-23T12:53:00.000-07:002009-08-23T12:55:27.220-07:00Joyce Mercer's Illustrations for The Classic Fairy Tales of Hans Andersen<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SpGdn_tPsKI/AAAAAAAAA84/LQGr0azsrbA/s1600-h/49.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 208px; height: 320px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SpGdn_tPsKI/AAAAAAAAA84/LQGr0azsrbA/s320/49.jpg" alt="" id="BLOGGER_PHOTO_ID_5373249140871377058" border="0" /></a><br />Robert Brandon's introduction to the 1935 edition of Hans Christian Andersen's fairy tales describes Joyce Mercer's style as 'inimitable and peculiarly individualistic; her treatment exemplary. Children cannot fail to be interested in the marvellous colour drawings and the subtle humour of the black and white; and grown ups will appreciate them also.'<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SpGdTcSvtAI/AAAAAAAAA8o/mbmahM5h83E/s1600-h/01.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px; height: 144px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SpGdTcSvtAI/AAAAAAAAA8o/mbmahM5h83E/s200/01.jpg" alt="" id="BLOGGER_PHOTO_ID_5373248787767604226" border="0" /></a><br />The craft of the line in these illustrations is extremely elegant and calligraphic - and, graphically, extremely satisfying, particularly in the vignettes, with their sense of balance and consistency in the character and concentration of line work. They would look quite at home next to a treble clef. Unfortunately, these 1992 prints of the illustrations do not do justice to the precision and sharpness of the original drawings. The colour illustrations have a 'stained glass' look to them and use flowing black lines to contain some areas of colour, while other colours bleed into each other to create a marble effect.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SpGdPce_RNI/AAAAAAAAA8g/p5lGazotAx8/s1600-h/02.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 189px; height: 200px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SpGdPce_RNI/AAAAAAAAA8g/p5lGazotAx8/s200/02.jpg" alt="" id="BLOGGER_PHOTO_ID_5373248719099479250" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SpGdLLwWB2I/AAAAAAAAA8Y/E6T5aV70wew/s1600-h/03.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px; height: 164px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SpGdLLwWB2I/AAAAAAAAA8Y/E6T5aV70wew/s200/03.jpg" alt="" id="BLOGGER_PHOTO_ID_5373248645889394530" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SpGdHGNx-7I/AAAAAAAAA8Q/NWOYmj64EJ8/s1600-h/04.jpg"><img style="margin: 0px auto 10px; 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display: block; text-align: center; cursor: pointer; width: 210px; height: 320px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SpGRRdzdysI/AAAAAAAAA3A/KBjBKRvSoVg/s320/53.jpg" alt="" id="BLOGGER_PHOTO_ID_5373235559674006210" border="0" /></a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SpGQysY4LII/AAAAAAAAA2w/dJ61PrjIs08/s1600-h/40.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px; height: 109px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SpGQysY4LII/AAAAAAAAA2w/dJ61PrjIs08/s200/40.jpg" alt="" id="BLOGGER_PHOTO_ID_5373235031013076098" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SpGQm5V0jZI/AAAAAAAAA2o/eQTfEuCmid4/s1600-h/41.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px; height: 122px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SpGQm5V0jZI/AAAAAAAAA2o/eQTfEuCmid4/s200/41.jpg" alt="" id="BLOGGER_PHOTO_ID_5373234828331486610" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SpGQZH7VenI/AAAAAAAAA2g/X3aQgJz21Zk/s1600-h/42.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px; height: 75px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SpGQZH7VenI/AAAAAAAAA2g/X3aQgJz21Zk/s200/42.jpg" alt="" id="BLOGGER_PHOTO_ID_5373234591728761458" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SpGQTxfEuFI/AAAAAAAAA2Y/r6Qd8IYd3hk/s1600-h/43.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px; height: 106px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SpGQTxfEuFI/AAAAAAAAA2Y/r6Qd8IYd3hk/s200/43.jpg" alt="" id="BLOGGER_PHOTO_ID_5373234499805296722" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SpGQNmuzjVI/AAAAAAAAA2Q/3lCXiMgoKsA/s1600-h/44.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px; height: 74px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SpGQNmuzjVI/AAAAAAAAA2Q/3lCXiMgoKsA/s200/44.jpg" alt="" id="BLOGGER_PHOTO_ID_5373234393839275346" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SpGQHEV0B_I/AAAAAAAAA2I/2zHTMbyHutU/s1600-h/45.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px; height: 107px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SpGQHEV0B_I/AAAAAAAAA2I/2zHTMbyHutU/s200/45.jpg" alt="" id="BLOGGER_PHOTO_ID_5373234281528428530" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SpGPwIyccII/AAAAAAAAA2A/NE7cmP8P4pg/s1600-h/46.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px; height: 74px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SpGPwIyccII/AAAAAAAAA2A/NE7cmP8P4pg/s200/46.jpg" alt="" id="BLOGGER_PHOTO_ID_5373233887585267842" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SpGPo1TMAeI/AAAAAAAAA14/CDufBMqaNHs/s1600-h/47.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 178px; height: 200px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SpGPo1TMAeI/AAAAAAAAA14/CDufBMqaNHs/s200/47.jpg" alt="" id="BLOGGER_PHOTO_ID_5373233762094809570" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SpGPj727XgI/AAAAAAAAA1w/63Mz2CBnfNM/s1600-h/48.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 200px; height: 108px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SpGPj727XgI/AAAAAAAAA1w/63Mz2CBnfNM/s200/48.jpg" alt="" id="BLOGGER_PHOTO_ID_5373233677955980802" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SpGPcb8Tl3I/AAAAAAAAA1o/6sfsrsg7Q_M/s1600-h/54.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 207px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SpGPcb8Tl3I/AAAAAAAAA1o/6sfsrsg7Q_M/s320/54.jpg" alt="" id="BLOGGER_PHOTO_ID_5373233549129521010" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SpGPUQ5DvxI/AAAAAAAAA1g/vPK8q2qyNLs/s1600-h/55.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 208px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SpGPUQ5DvxI/AAAAAAAAA1g/vPK8q2qyNLs/s320/55.jpg" alt="" id="BLOGGER_PHOTO_ID_5373233408724156178" border="0" /></a>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com4tag:blogger.com,1999:blog-5035391127486680959.post-63154313137204078822009-08-14T15:41:00.001-07:002009-08-14T16:04:41.516-07:00Another Ugly Duchess updateRead my earlier posts on the Duchess <a href="http://lukefarookhi.blogspot.com/2008/12/ugly-duchess-from-leonardo-to-tenniel.html">here</a> and <a href="http://lukefarookhi.blogspot.com/2008/12/ugly-duchess-update.html">here</a>.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SoXp8FEBipI/AAAAAAAAA0I/YNeC3repJIM/s1600-h/shrew.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 236px; height: 320px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SoXp8FEBipI/AAAAAAAAA0I/YNeC3repJIM/s320/shrew.jpg" alt="" id="BLOGGER_PHOTO_ID_5369955349069662866" border="0" /></a><br />This photo appears as a frontispiece to a book of the Wife of Bath's tale (from Chaucer's Canterbury Tales). The miserichord (referred to as 'The Shrew' in the caption) seems to be the source for F. W. Fairholt's engraving for <span class="Apple-style-span" style="font-style: italic;">History of Caricature and Grotesque in Literature and Art</span> (1865), which was probably seen by John Tenniel and used as inspiration for his Duchess in <span style="font-style: italic;">Alice's Adventures in Wonderland</span>.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/STh-bJzm7MI/AAAAAAAAAmA/GLkAyxDjC8w/s1600-h/10.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 244px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/STh-bJzm7MI/AAAAAAAAAmA/GLkAyxDjC8w/s400/10.jpg" alt="" id="BLOGGER_PHOTO_ID_5276105968418483394" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SoXs2Uj0JNI/AAAAAAAAA0Q/fm9E7k3Yz7o/s1600-h/1book20.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 266px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SoXs2Uj0JNI/AAAAAAAAA0Q/fm9E7k3Yz7o/s320/1book20.jpg" alt="" id="BLOGGER_PHOTO_ID_5369958548685202642" border="0" /></a><br />There is no reason to believe, however, that he ever saw the actual miserichord itself, which can be found in the church of St. Lawrence in Ludlow; Tenniel's Duchess bears a closer resemblance to the engraving than to the original. It is likely that the miserichord was added to the church in the 15th century, when most of the structure was rebuilt.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SoXtQconRwI/AAAAAAAAA0Y/ZEqqWfWWqzM/s1600-h/plut.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 291px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SoXtQconRwI/AAAAAAAAA0Y/ZEqqWfWWqzM/s320/plut.jpg" alt="" id="BLOGGER_PHOTO_ID_5369958997529413378" border="0" /></a><br />A character with a similar headdress can be seen in an illustration for <span style="font-style: italic;">Les Echecs Amoureux</span> (c. 1496-8) depicting Pluto and his wife Persephone, who are unusually depicted as aged and ugly. Even though this dates from before Massys' <span style="font-style: italic;">Grotesque Old Woman</span> (c. 1513), it need not be considered a source for the painting, so much as suggesting that this kind of headdress was probably a sort of accepted shorthand in art at the time for an ugly old woman. The shape of the headdress gives the head an overall deformed look (though in this particular illustration it perhaps has a double meaning, alluding to the horned minions on the right hand side of the composition).Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-82491486035693260182009-08-03T09:14:00.000-07:002009-08-03T09:35:26.370-07:00Johann Gaspar Lavater: Physiognomische Fragmente (1774-1778)More attempts at discerning the physiognomy of madness, here from the eighteenth century.<br /><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SncN13i_QwI/AAAAAAAAAz4/pBzzrVU5Ltk/s1600-h/a+madman.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 288px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SncN13i_QwI/AAAAAAAAAz4/pBzzrVU5Ltk/s320/a+madman.jpg" alt="" id="BLOGGER_PHOTO_ID_5365772700130165506" border="0" /></a><br />A madman,<br /></div><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SncNyNa5yOI/AAAAAAAAAzw/wqdPWMR3qVs/s1600-h/four+male+idiots.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 278px; height: 320px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SncNyNa5yOI/AAAAAAAAAzw/wqdPWMR3qVs/s320/four+male+idiots.jpg" alt="" id="BLOGGER_PHOTO_ID_5365772637282355426" border="0" /></a><br /><div style="text-align: center;">Four male idiots,<br /></div><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SncNtFtgHsI/AAAAAAAAAzo/jPLoY6FwqEE/s1600-h/two+melancholics.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 136px; height: 320px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SncNtFtgHsI/AAAAAAAAAzo/jPLoY6FwqEE/s320/two+melancholics.jpg" alt="" id="BLOGGER_PHOTO_ID_5365772549313535682" border="0" /></a><br /><div style="text-align: center;">Two melancholics,<br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SncNo3ci5gI/AAAAAAAAAzg/FJgcuxpPVPE/s1600-h/six+idiot+women.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 254px; height: 320px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SncNo3ci5gI/AAAAAAAAAzg/FJgcuxpPVPE/s320/six+idiot+women.jpg" alt="" id="BLOGGER_PHOTO_ID_5365772476764841474" border="0" /></a><br /><div style="text-align: center;">Six female idiots,<br /></div><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SncNjZTGN5I/AAAAAAAAAzY/vYDxrgpoVvM/s1600-h/two+cretins.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 170px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SncNjZTGN5I/AAAAAAAAAzY/vYDxrgpoVvM/s320/two+cretins.jpg" alt="" id="BLOGGER_PHOTO_ID_5365772382772803474" border="0" /></a><br /><div style="text-align: center;">Two cretins.<br /></div>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-33688215810884679652009-07-27T10:09:00.000-07:002009-12-28T14:41:38.178-08:00The Sword in the Stone<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/Sm3j_KZcfOI/AAAAAAAAAzQ/d-XOeFReMQc/s1600-h/01.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 154px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/Sm3j_KZcfOI/AAAAAAAAAzQ/d-XOeFReMQc/s320/01.jpg" alt="" id="BLOGGER_PHOTO_ID_5363193405530471650" border="0" /></a><br />T.H. White's The Sword in the Stone is one of my favourite childhood books. These illustrations are from a 1939 edition of the book - only a year after it first came out - for Reader's Union from Collins Publishers, London. Gib (below) identifies the illustrator as White himself. The drawings have a 'Thurberesque' charm to them.<br /><br />There are a number of similarities to the designs of the 1963 Disney adaptation, namely the walrus-whiskered Sir Ector, the plain clothes of Merlyn and the snarling pike. The image of Merlyn dozing is very similar to a Bill Peet story sketch for the film.<br /><br />Also depicted is Madame Mim as an Aullay, a creature 'as much bigger than an elephant as an elephant is larger than a sheep. It was a sort of horse with an elephant's trunk.' Peet would later contemplate using this creature in the film.<br /><br />Visit Michael Sporn's blog for more <a href="http://www.michaelspornanimation.com/splog/?p=1493">Merlin and Mim</a>, and to see Peet's sketches of Merlin dozing and Mim as the Aullay.<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/Sm3j8A-tOPI/AAAAAAAAAzI/IIqz91PzfYA/s1600-h/02.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 253px; height: 320px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/Sm3j8A-tOPI/AAAAAAAAAzI/IIqz91PzfYA/s320/02.jpg" alt="" id="BLOGGER_PHOTO_ID_5363193351462795506" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/Sm3j408AldI/AAAAAAAAAzA/5KDCcKMg40s/s1600-h/03.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 190px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/Sm3j408AldI/AAAAAAAAAzA/5KDCcKMg40s/s320/03.jpg" alt="" id="BLOGGER_PHOTO_ID_5363193296690648530" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/Sm3j2ZXREoI/AAAAAAAAAy4/fWcBvkP4E6I/s1600-h/04.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 219px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/Sm3j2ZXREoI/AAAAAAAAAy4/fWcBvkP4E6I/s320/04.jpg" alt="" id="BLOGGER_PHOTO_ID_5363193254929044098" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/Sm3jz4bIqwI/AAAAAAAAAyw/noXWfn-eYqI/s1600-h/05.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 82px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/Sm3jz4bIqwI/AAAAAAAAAyw/noXWfn-eYqI/s320/05.jpg" alt="" id="BLOGGER_PHOTO_ID_5363193211727162114" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/Sm3jxLnLRnI/AAAAAAAAAyo/azRZguHIJwo/s1600-h/06.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 284px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/Sm3jxLnLRnI/AAAAAAAAAyo/azRZguHIJwo/s320/06.jpg" alt="" id="BLOGGER_PHOTO_ID_5363193165338330738" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/Sm3juWe9N2I/AAAAAAAAAyg/VJKiap9OpJw/s1600-h/07.jpg"><img style="margin: 0px auto 10px; 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display: block; text-align: center; cursor: pointer; width: 179px; height: 320px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/Sm3gl_63UCI/AAAAAAAAAuY/1-RbqKsixCk/s320/40.jpg" alt="" id="BLOGGER_PHOTO_ID_5363189674686238754" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/Sm3giF86K1I/AAAAAAAAAuQ/4VEXPBZ_t50/s1600-h/41.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 259px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/Sm3giF86K1I/AAAAAAAAAuQ/4VEXPBZ_t50/s320/41.jpg" alt="" id="BLOGGER_PHOTO_ID_5363189607585950546" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/Sm3geA0rDCI/AAAAAAAAAuI/LuxblZ4szB8/s1600-h/42.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 138px; height: 320px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/Sm3geA0rDCI/AAAAAAAAAuI/LuxblZ4szB8/s320/42.jpg" alt="" id="BLOGGER_PHOTO_ID_5363189537489751074" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/Sm3ga6-F4hI/AAAAAAAAAuA/YAA3IJ_IEUw/s1600-h/43.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 191px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/Sm3ga6-F4hI/AAAAAAAAAuA/YAA3IJ_IEUw/s320/43.jpg" alt="" id="BLOGGER_PHOTO_ID_5363189484379038226" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/Sm3gXK9UJFI/AAAAAAAAAt4/FWYFKsOz-8w/s1600-h/44.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 296px; height: 126px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/Sm3gXK9UJFI/AAAAAAAAAt4/FWYFKsOz-8w/s320/44.jpg" alt="" id="BLOGGER_PHOTO_ID_5363189419951268946" border="0" /></a>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com2tag:blogger.com,1999:blog-5035391127486680959.post-70992038063073616582009-06-08T16:01:00.000-07:002009-08-03T09:36:24.370-07:00Extract from Phillipe Pinel's 'A Treatise on Insanity' (1801)<span class="Apple-style-span" style="font-style: italic;"><div><span class="Apple-style-span" style="font-style: normal;">Here, Pinel compares the perceived physiognomies of an idiot and a maniac. These extracts are courtesy of Sander L. Gilman's </span><span class="Apple-style-span" style="">Seeing the Insane<span class="Apple-style-span" style="font-style: normal;">. References to the 'proportions of Apollo' allude to the perceived ideal facial proportions as determined by classical sculpture.</span></span></div><div><br /></div>On first view of this idiot </span>(lowest image)<span class="Apple-style-span" style="font-style: italic;">, what appears most striking is the extremely disproportionate extent of the face, compared with the diminutive size of the cranium. No traits of animation are visible in his physiognomy. Every line indicates the most absolute stupidity. Between the height of the head and that of the whole stature, there is a very great disproportion. The cranium is greatly depressed both at the crown and at the temples. His looks are heavy and his mouth wide open. The whole extent of his knowledge is confined to three or four confused ideas, and that of his speech to as many inarticulate sounds. His capacity is so defective, that he can scarcely guide the food to his mouth; and his insensibility so great, that he is incapable of attending to the common calls of nature. His step is feeble, heavy and tottering. His disinclination to motion is excessive. He is totally insensible to the natural propensity for reproduction - a passion so strong even in the Cretin, and which gives him a deep consciousness of his existence. This equivocal being, who seems to have been placed by nature on the very confines of humanity, is the son of a farmer, and was brought to the hospital de Bicetre about two years ago. He appears to have been impressed from his infancy with the above characters of fatuity...</span><div><span class="Apple-style-span" style="font-style: italic;"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/Si2m_cW6RoI/AAAAAAAAAts/KpCc3P_uAns/s1600-h/a+maniac+and+an+idiot.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 174px; height: 320px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/Si2m_cW6RoI/AAAAAAAAAts/KpCc3P_uAns/s320/a+maniac+and+an+idiot.jpg" alt="" id="BLOGGER_PHOTO_ID_5345111941632902786" border="0" /></a><br /></span></div><div><span class="Apple-style-span" style="font-style: italic;">... The ancient artists, who were equally remarkable for the delicacy of their touch and their acuteness of observation, could not fail to discover those proportions of the head which are the essential constituents of beauty. They have, consequently, divided those of Apollo into four parts by horizontal planes at equal distances. One of those parts begins at the roots of the hair on the forehead, and extends to the crown. The form of the head of the maniac </span>(uppermost image)<span class="Apple-style-span" style="font-style: italic;"> varies no more than well-proportioned heads in general from this standard, since the whole height of his head is twenty-three centimetres. Subtracting one from the other, we obtain a remainder of six centimetres, which, compared with the whole height, gives a proportion very nearly approaching that of one to four, as in the head of Apollo. The height of the head of the idiot, on the contrary, is eighteen centimetres, and his face fifteen. On subtraction we have a distance of three centimetres, which is only one sixth of the height, and which shews how much the vault of the cranium is flattened, and, consequently, its capacity diminished. This diminution is still more strikingly apparent if we examine the human skull in another point of view. In well formed heads, a horizontal section of the cranium made in the direction of the squamous margin of the temporal bones, gives an irregular ellipsis of such a form, that the double ordinate passing at the anterior portion of those bones, is much shorter than that passing through the posterior part. The head of the maniac approaches in those respects to the proper proportions, for the posterior double ordinate is longer by two centimetres than the anterior. On the contrary, those two lines are about equal in the head of the idiot, as I have ascertained by a caliber compass; so that the section of this cranium would give a figure very nearly approaching that of a regular ellipsis.</span></div>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-85040996415753662772009-04-17T04:18:00.000-07:002009-08-03T09:36:36.733-07:0025 Grotesque Faces from Leonardo<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/Sehlo71TKJI/AAAAAAAAArA/mXMbF1NFcw4/s1600-h/1485+a+grotesque+man+in+right+profile,+with+a+sugar-loaf+hat.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 164px; height: 320px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/Sehlo71TKJI/AAAAAAAAArA/mXMbF1NFcw4/s320/1485+a+grotesque+man+in+right+profile,+with+a+sugar-loaf+hat.jpg" alt="" id="BLOGGER_PHOTO_ID_5325618313296029842" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SehnmRj54kI/AAAAAAAAAs4/eyeW_pwmugw/s1600-h/1485+the+bust+of+an+old+man.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 227px; height: 320px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SehnmRj54kI/AAAAAAAAAs4/eyeW_pwmugw/s320/1485+the+bust+of+an+old+man.jpg" alt="" id="BLOGGER_PHOTO_ID_5325620466612298306" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SehniZgf6jI/AAAAAAAAAsw/jui4YeNhK_k/s1600-h/1485+two+grotesque+profiles+confronted+%28II%29.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 285px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SehniZgf6jI/AAAAAAAAAsw/jui4YeNhK_k/s320/1485+two+grotesque+profiles+confronted+%28II%29.jpg" alt="" id="BLOGGER_PHOTO_ID_5325620400026020402" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SehndKsPXDI/AAAAAAAAAso/PnW8FQ00qJY/s1600-h/1485+two+grotesque+profiles+confronted.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 308px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SehndKsPXDI/AAAAAAAAAso/PnW8FQ00qJY/s320/1485+two+grotesque+profiles+confronted.jpg" alt="" id="BLOGGER_PHOTO_ID_5325620310149389362" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SehnSt9c0zI/AAAAAAAAAsg/PKjVtXfb-1c/s1600-h/1485-1488+a+caricature+of+a+young+woman.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 195px; height: 320px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SehnSt9c0zI/AAAAAAAAAsg/PKjVtXfb-1c/s320/1485-1488+a+caricature+of+a+young+woman.jpg" alt="" id="BLOGGER_PHOTO_ID_5325620130638254898" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SehnK-q9n3I/AAAAAAAAAsY/sbvB7FFNYbQ/s1600-h/1485-1490+a+bald+fat+man+with+a+broken+nose,+in+right+profile.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 270px; height: 320px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SehnK-q9n3I/AAAAAAAAAsY/sbvB7FFNYbQ/s320/1485-1490+a+bald+fat+man+with+a+broken+nose,+in+right+profile.jpg" alt="" id="BLOGGER_PHOTO_ID_5325619997685161842" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SehnFthVP0I/AAAAAAAAAsQ/wATd4Qqt11M/s1600-h/1485-1490+two+grotesque+profiles+confronted+%28II%29.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 271px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SehnFthVP0I/AAAAAAAAAsQ/wATd4Qqt11M/s320/1485-1490+two+grotesque+profiles+confronted+%28II%29.jpg" alt="" id="BLOGGER_PHOTO_ID_5325619907182018370" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SehnBaMcKKI/AAAAAAAAAsI/rl8P2M2Cwbo/s1600-h/1485-1490+two+grotesque+profiles+confronted.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 278px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SehnBaMcKKI/AAAAAAAAAsI/rl8P2M2Cwbo/s320/1485-1490+two+grotesque+profiles+confronted.jpg" alt="" id="BLOGGER_PHOTO_ID_5325619833274640546" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/STiBf20v3TI/AAAAAAAAAnQ/rhm3M3NBncQ/s1600-h/05.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 150px; height: 320px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/STiBf20v3TI/AAAAAAAAAnQ/rhm3M3NBncQ/s320/05.jpg" alt="" id="BLOGGER_PHOTO_ID_5276109347757219122" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/Sehm1Ashj7I/AAAAAAAAAsA/eJLvtUxrzJA/s1600-h/1490-1495+a+grotesque+old+man+in+right+profile.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 186px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/Sehm1Ashj7I/AAAAAAAAAsA/eJLvtUxrzJA/s320/1490-1495+a+grotesque+old+man+in+right+profile.jpg" alt="" id="BLOGGER_PHOTO_ID_5325619620271460274" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/STiCQ_damkI/AAAAAAAAAnw/UknejacbM_E/s1600-h/01.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 311px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/STiCQ_damkI/AAAAAAAAAnw/UknejacbM_E/s400/01.jpg" alt="" id="BLOGGER_PHOTO_ID_5276110191888865858" border="0" /></a><div><div style="text-align: left;"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SehmUqEIU5I/AAAAAAAAAr4/kl4rKYhTXNc/s1600-h/1496+the+head+of+a+msn+in+right+profile,+wearing+a+plumed+headdress.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 214px; height: 320px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SehmUqEIU5I/AAAAAAAAAr4/kl4rKYhTXNc/s320/1496+the+head+of+a+msn+in+right+profile,+wearing+a+plumed+headdress.jpg" alt="" id="BLOGGER_PHOTO_ID_5325619064440640402" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SehmNVTrrTI/AAAAAAAAArw/oNZQr1_4sM8/s1600-h/1503-1504+a+man+in+right+profile.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 309px; height: 320px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SehmNVTrrTI/AAAAAAAAArw/oNZQr1_4sM8/s320/1503-1504+a+man+in+right+profile.jpg" alt="" id="BLOGGER_PHOTO_ID_5325618938609642802" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SehmJpGA_OI/AAAAAAAAAro/3DhHW4_tX7U/s1600-h/1508-1510+an+old+man+seated+in+right+profile.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 234px; height: 320px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SehmJpGA_OI/AAAAAAAAAro/3DhHW4_tX7U/s320/1508-1510+an+old+man+seated+in+right+profile.jpg" alt="" id="BLOGGER_PHOTO_ID_5325618875201551586" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SehmE80NeTI/AAAAAAAAArg/70M6hVQxrYI/s1600-h/1510-1515+a+grotesque+old+man+leaning+on+a+stick,+and+a+man%27s+back.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 202px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SehmE80NeTI/AAAAAAAAArg/70M6hVQxrYI/s320/1510-1515+a+grotesque+old+man+leaning+on+a+stick,+and+a+man%27s+back.jpg" alt="" id="BLOGGER_PHOTO_ID_5325618794596235570" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/Sehl3k7DWjI/AAAAAAAAArQ/l5vmnYFUhXM/s1600-h/1517+a+caricature+of+an+italian+official+%28%3F%29.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 228px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/Sehl3k7DWjI/AAAAAAAAArQ/l5vmnYFUhXM/s320/1517+a+caricature+of+an+italian+official+%28%3F%29.jpg" alt="" id="BLOGGER_PHOTO_ID_5325618564844182066" border="0" /></a><br /></div></div>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-58224309168026610652009-03-26T17:19:00.000-07:002009-08-03T09:37:12.211-07:00Harry Clarke and Goethe's 'Faust'<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/Sc3rR-ulFvI/AAAAAAAAAqI/UDzs1P9FiYs/s1600-h/unusedfaust.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 298px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/Sc3rR-ulFvI/AAAAAAAAAqI/UDzs1P9FiYs/s400/unusedfaust.jpg" alt="" id="BLOGGER_PHOTO_ID_5318165429123094258" border="0" /></a><br />Above is an unfinished, and unpublished, illustration depicting Faust and Margaret from the 'Garden' scene in <span class="Apple-style-span" style="font-style: italic;">Faust</span>. The watercolour is by Harry Clarke (1889-1931), an illustrator who was, first and foremost, a stained-glass artist. The Ireland-born Clarke owes much to Byzantium in style, and something to Beardsley in tone. Clarke began work on the project in late 1924. Initially Harraps, the publisher, did not like the drawings (Clarke recalled that they thought the work was 'full of steaming horrors'), and many of the illustrations were finished under pressure.<div><br /><div><span class="Apple-style-span" style="white-space: pre-wrap;font-family:'Lucida Grande';font-size:11;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtYJMhKq7I/AAAAAAAAAeQ/ZTzkaXR8IB0/s1600-h/mephisto.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 264px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtYJMhKq7I/AAAAAAAAAeQ/ZTzkaXR8IB0/s400/mephisto.jpg" alt="" id="BLOGGER_PHOTO_ID_5263397504514960306" border="0" /></a></span><br /></div><div>A sexually ambiguous Mephistopholes lures the old wizard Faust into an infrnal, chaotic world where forms change freely and the creatures are grotesquely mutilated, their bloated, misshapen bodies and breasts set against their bony limbs and cadaverous faces. Clarke was the first illustrator of the poem to make its sexual elements overt, and he succeeds in creating a truly creepy world bubbling with erotic decadence, while retaining an element of humour.</div><div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtXuHLU03I/AAAAAAAAAeI/65pjoyeO8uk/s1600-h/witch.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 265px; height: 400px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtXuHLU03I/AAAAAAAAAeI/65pjoyeO8uk/s400/witch.jpg" alt="" id="BLOGGER_PHOTO_ID_5263397039224705906" border="0" /></a></div><div><br /></div><div>There were eventually 8 full-colour, full-page illustrations; eight full-page ink wash illustrations; six full-page illustrations in pure black line; and sixty-four black and white vignettes referringto 'incidents in the poem not covered by the full-page drawings.' Clarke's <span class="Apple-style-span" style="font-style: italic;">Faust</span> was published in 1926, limited to 2,000 copies. Despite Harraps' earlier dislike of the drawings, the reviews on the book's release were generally positive.</div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/Sc3soJr7lLI/AAAAAAAAAqY/ZvhOIJmfWKE/s1600-h/dance.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 267px; height: 400px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/Sc3soJr7lLI/AAAAAAAAAqY/ZvhOIJmfWKE/s400/dance.jpg" alt="" id="BLOGGER_PHOTO_ID_5318166909533525170" border="0" /></a><br /></div><div>'There is from first to last in these pictures no sunlight, but rather light filtered, coming as through a glass darkly. And it is this quality of filtered light, helping to make him so interesting a commentator on Goeth's tale, that is one of the distinctive charms of Mr. Clarke's work. It is not for nothing that he is by choice a designer of storied windows richly dight, and in the case of these Faust pictures, the dimmed light is truly religious, binding together as in a single medium this wealth of fantastic invention and remaining in the mind until the detail is lost in the whole' - Dorothy Richardson for <span class="Apple-style-span" style="font-style: italic;">The Studio</span>, October 1926</div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/Sc3r1DowVBI/AAAAAAAAAqQ/jio40LzPrt0/s1600-h/brawl.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 266px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/Sc3r1DowVBI/AAAAAAAAAqQ/jio40LzPrt0/s400/brawl.jpg" alt="" id="BLOGGER_PHOTO_ID_5318166031736263698" border="0" /></a></div><div><br /></div><div>'Nothing in these drawings represents anything in the visible world: all come from that dread mid-world of purgatory or the soul where forms change on the instant by evil or beautiful imagination... Clarke's fertility of of invention is endless. It is shown in a multitude of designs less elaborate than the page plates, but no less intense. How awful... is the Despair with head like a bird of prey, which holds the fainting girl in the <span class="Apple-style-span" style="font-style: italic;">Cathedral</span>, while the choir chants the Dies Irae... Clarke is not the artist of men and women, but seer of forms which their passions and imaginations assume' - <span class="Apple-style-span" style="font-style: italic;">Irish Statesman</span></div><div><span class="Apple-style-span" style="font-style: italic;"><br /></span></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/Sc3qV9bgYtI/AAAAAAAAAqA/NYPNspa02BE/s1600-h/faust204.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 213px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/Sc3qV9bgYtI/AAAAAAAAAqA/NYPNspa02BE/s320/faust204.jpg" alt="" id="BLOGGER_PHOTO_ID_5318164397982507730" border="0" /></a><div>A negative review of the drawings actually sums up what I love about Clarke's take on the poem:</div><div><br /></div><div>'... a dream world of half-created fantasies; the powerless fancies of senile visions; misshapen bodies with wormlike heads; staring eyes of octopuses and reptiles gaze like ponderous saurians of the lost world, while half-finished homuncili change like 'plasma' in forms unbound by reason' - <span class="Apple-style-span" style="font-style: italic;">Artwork</span></div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/Sc3uF-Zd48I/AAAAAAAAAq4/fDUmXld0C3o/s1600-h/faust181.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 283px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/Sc3uF-Zd48I/AAAAAAAAAq4/fDUmXld0C3o/s320/faust181.jpg" alt="" id="BLOGGER_PHOTO_ID_5318168521410995138" border="0" /></a></div><div><br /></div><div>For more of Clarke's <span class="Apple-style-span" style="font-style: italic;">Faust </span>illustrations see <a href="http://www.nocloo.com/gallery2/v/harry-clarke-faust/?g2_page=1">nocloo.com</a> and <a href="http://www.grandmasgraphics.com/clarke4.php">Grandma's Graphics</a>. Much of the information in this post was taken from Nicola Gordon Bowe's excellent book <span class="Apple-style-span" style="font-style: italic;">The Life and Work of Harry Clarke</span> (1989).</div></div></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/Sc3tpJ_BCBI/AAAAAAAAAqw/LLI_3mhiuRk/s1600-h/faust.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 247px; height: 320px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/Sc3tpJ_BCBI/AAAAAAAAAqw/LLI_3mhiuRk/s320/faust.jpg" alt="" id="BLOGGER_PHOTO_ID_5318168026305071122" border="0" /></a>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com1tag:blogger.com,1999:blog-5035391127486680959.post-107452229506773832009-01-06T13:27:00.000-08:002009-08-03T09:38:11.199-07:00Disney Demonology<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SQtQVnLTSQI/AAAAAAAAAcw/aucMdo5kZV4/s1600-h/chern.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 308px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SQtQVnLTSQI/AAAAAAAAAcw/aucMdo5kZV4/s400/chern.jpg" alt="" id="BLOGGER_PHOTO_ID_5263388921736415490" border="0" /></a><br />A while ago Michael Sporn posted the <a href="http://www.michaelspornanimation.com/splog/?p=1684">awe-inspiring drawings</a> by Vladimir 'Bill' Tytla for the giant Devil atop Bald Mountain in Disney's 'Fantasia', varyingly referred to as 'Satan himself', 'Tchernobog' and 'Chernobog', but, most frequently known as Chernabog. This may be my favourite sequence in any Disney film.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtR3xWHAXI/AAAAAAAAAc4/k5cB38ioSD4/s1600-h/chernabog+green.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtR3xWHAXI/AAAAAAAAAc4/k5cB38ioSD4/s400/chernabog+green.jpg" alt="" id="BLOGGER_PHOTO_ID_5263390608093282674" border="0" /></a><br />The monster was based on a number of sources, but perhaps most famously, the look of the whole Night on Bald Mountain/Ave Maria sequence was defined by the great illustrator Kay Nielsen.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SUqj4IMu7-I/AAAAAAAAAn4/l6MqNP8K8zs/s1600-h/felicia4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 273px; height: 320px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SUqj4IMu7-I/AAAAAAAAAn4/l6MqNP8K8zs/s320/felicia4.jpg" alt="" id="BLOGGER_PHOTO_ID_5281213697714221026" border="0" /></a><br />Nielsen's work in illustration suited him well to scenes of supernatural elegance; an illustration from 'Felicia' shares some characteristics with the swirling spirits Chernabog calls forth from their graves... <div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SUqkHW8QjbI/AAAAAAAAAoA/r4BYcCUV-9s/s1600-h/john+and+the+ghosts2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 271px; height: 320px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SUqkHW8QjbI/AAAAAAAAAoA/r4BYcCUV-9s/s320/john+and+the+ghosts2.jpg" alt="" id="BLOGGER_PHOTO_ID_5281213959369690546" border="0" /></a><br />while another illustration for 'John and the Ghosts' demonstrates an interest in distorted shadow.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/R8NqP592QHI/AAAAAAAAAIA/ZgTajU08idM/s1600-h/ch.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/R8NqP592QHI/AAAAAAAAAIA/ZgTajU08idM/s320/ch.jpg" alt="" id="BLOGGER_PHOTO_ID_5171093618642272370" border="0" /></a><br />Credited with coming up with the idea for the sequence in the first place is the great Albert Hurter, whose nervous scribblings and fantastical doodles have been paid tribute to in John Canemaker's 'Before the Animation Begins', and the 1942 book 'He Drew as He Pleased'.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/R8Nb5p92P9I/AAAAAAAAAGw/HHExyLzA32k/s1600-h/what+a+devilish+stench%21.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/R8Nb5p92P9I/AAAAAAAAAGw/HHExyLzA32k/s320/what+a+devilish+stench%21.jpg" alt="" id="BLOGGER_PHOTO_ID_5171077843227394002" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/R8Ncap92P-I/AAAAAAAAAG4/vjyhNFlC4v4/s1600-h/sabotage.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/R8Ncap92P-I/AAAAAAAAAG4/vjyhNFlC4v4/s320/sabotage.jpg" alt="" id="BLOGGER_PHOTO_ID_5171078410163077090" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/R8Na2J92P7I/AAAAAAAAAGg/Jb7_PYw0Oyo/s1600-h/away+from+rome%21.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/R8Na2J92P7I/AAAAAAAAAGg/Jb7_PYw0Oyo/s320/away+from+rome%21.jpg" alt="" id="BLOGGER_PHOTO_ID_5171076683586224050" border="0" /></a><br />Hurter himself was inspired by Heinrich Kley, who depicted devils and giants in grotesque, surreal and sometimes comical sequences. Kley's devils, delighting in causing chaos, are part Gargantua, part Gulliver. For a time Disney attempted to introduce thios comical aspect to the Bald Mountain sequence, but decided against it.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/R9cP958YQbI/AAAAAAAAAJ8/uTOsRxxpIhU/s1600-h/dante+satan.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/R9cP958YQbI/AAAAAAAAAJ8/uTOsRxxpIhU/s400/dante+satan.jpg" alt="" id="BLOGGER_PHOTO_ID_5176623852886180274" border="0" /></a><br /><div>Robin Allan ('Walt Disney and Europe') has remarked on the influence of Gustave Dore on much of the early work at Disney. Dore not only inspired Disney artists like Hurter, Joe Grant and Ferdinand Hovarth. His influence can also be found in Kley's work, with a bit of Honore Daumier thrown in. Most famous of Dore's devils is probably his Satan in 'Dante's Inferno'. Like Disney's Chernabog, Dore's Satan is titanic in size, but rooted from the waist up in a single place, and completely impotent. It almost seems that Dore really wants to design his own Devil, but grudgingly sketches in the characteristics Dante describes. Though his Satan has three heads, two are more or less hidden in shadow, and the two extra pairs of wings, described by Dante to move like the blades of a windmill, are vague enough to be taken almost as a motion blur. The devil Dore seems eager to depict is not Dante's but the more traditional version, with the satyr-like features traditionally attributed to him up to that point. Dore's Satan is nevertheless quite chilling, combining the awesome size of the likes of Giotto's Satan in his <span class="Apple-style-span" style="font-style: italic;">Last Judgement</span> fresco with the quiet, brooding menace of the demon of Fuseli's <span class="Apple-style-span" style="font-style: italic;">The Nightmare</span>.</div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SWZ98oE1mMI/AAAAAAAAAo0/VGZ4W7OoH_o/s1600-h/014.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 313px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SWZ98oE1mMI/AAAAAAAAAo0/VGZ4W7OoH_o/s400/014.jpg" alt="" id="BLOGGER_PHOTO_ID_5289053292896557250" border="0" /></a><br /></div><div>Also in Dore's <span class="Apple-style-span" style="font-style: italic;">Dante</span> illustrations can be found swirling seas of spirits similar to those seen in Night on Bald Mountain, and a similarly jagged, rocky landscape.<div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SWZyq3IZfSI/AAAAAAAAAos/hnnjLv3mI6A/s1600-h/26.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 322px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SWZyq3IZfSI/AAAAAAAAAos/hnnjLv3mI6A/s400/26.jpg" alt="" id="BLOGGER_PHOTO_ID_5289040893072473378" border="0" /></a><br /></div><div>There may also be something of the Lucifer of Dore's <span class="Apple-style-span" style="font-style: italic;">Paradise Lost</span>, who spends a lot of time angsting about on moody mountaintops. The above engraving is a highlight in a set of illustrations that tends to be rather samey.</div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SUqm4Xm36eI/AAAAAAAAAog/g2kcyPmaLgU/s1600-h/036.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 317px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SUqm4Xm36eI/AAAAAAAAAog/g2kcyPmaLgU/s400/036.jpg" alt="" id="BLOGGER_PHOTO_ID_5281217000385276386" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SUqmTw31amI/AAAAAAAAAoQ/LINPOb-AqPg/s1600-h/014.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 316px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SUqmTw31amI/AAAAAAAAAoQ/LINPOb-AqPg/s400/014.jpg" alt="" id="BLOGGER_PHOTO_ID_5281216371512142434" border="0" /></a></div><div><br /></div><div>The comical aspect of Kley's devils may also be in reference to Dore, who seems to have enjoyed the comedic situations between giants and humans in Rabelais' <span class="Apple-style-span" style="font-style: italic;">Gargantua and Pantagruel</span>. The situations are at times grotesque, at times frightening, most of the time comical.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SWaJEvuP8lI/AAAAAAAAApE/jT9SHW5iG6U/s1600-h/015.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 273px; height: 400px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SWaJEvuP8lI/AAAAAAAAApE/jT9SHW5iG6U/s400/015.jpg" alt="" id="BLOGGER_PHOTO_ID_5289065527016157778" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SWaI9L1YGAI/AAAAAAAAAo8/ptJyxuWs_Is/s1600-h/073.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 302px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SWaI9L1YGAI/AAAAAAAAAo8/ptJyxuWs_Is/s400/073.jpg" alt="" id="BLOGGER_PHOTO_ID_5289065397123291138" border="0" /></a><br /></div><div>I don't know if Kley or the Disney artist would have seen the spectacular 1875 engravings - in my opinion Dore's best illustrations - as they were only published once, in a very expensive edition that now sells for thousands - though they have thankfully become more readily available recently through a cheap Dover paperback featuring all of the full-page illustrations and many of the vignettes - but the earlier illustrations of Dore's were in wide circulation and published many times.</div><div><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/J04AD8SGCjw&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/J04AD8SGCjw&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br /></div><div><br /></div><div>The most well-known inspiration for the Night on Bald Mountain sequence is the scene in Murnau's <span class="Apple-style-span" style="font-style: italic;">Faust</span> in which Mephisto, portrayed by Emil Jannings, appears as a giant, bat-like shadow over Faust's village, releasing poisonous smoke that spreads the plague. So iconic is this sequence that it even found its way into an episode of <span class="Apple-style-span" style="font-style: italic;">The Powerpuff Girls</span>.</div><div><br /><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/7VBm4P9GIJk&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/7VBm4P9GIJk&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="344" width="425"></embed></object><br /></div><div><br /></div><div>Not only is the idea and staging similar, but the architecture of village beneath Bald Mountain bears more than a passing resemblance to the crooked houses of Faust's hometown. The influence here is most prominently <span class="Apple-style-span" style="font-style: italic;">Der Golem</span>, which the Disney artists may also have seen.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SAD-bjtw1QI/AAAAAAAAAOc/71eym9fFGhQ/s1600-h/balzac058.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SAD-bjtw1QI/AAAAAAAAAOc/71eym9fFGhQ/s320/balzac058.jpg" alt="" id="BLOGGER_PHOTO_ID_5188426520127919362" border="0" /></a></div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SAEBuDtw1SI/AAAAAAAAAOs/RwAwHVBbXWc/s1600-h/balzac217.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SAEBuDtw1SI/AAAAAAAAAOs/RwAwHVBbXWc/s320/balzac217.jpg" alt="" id="BLOGGER_PHOTO_ID_5188430136490382626" border="0" /></a><br /></div><div>Dan Malan has also cited, as an influence on Murnau's <span class="Apple-style-span" style="font-style: italic;">Nosferatu </span>and <span class="Apple-style-span" style="font-style: italic;">Faust</span> (you guessed it) Gustave Dore. In the case of <span class="Apple-style-span" style="font-style: italic;">Faust</span> he's probably thinking of a few full-page illustrations in <span class="Apple-style-span" style="font-style: italic;">Contes Drolatiques</span>, which share a similar passion for Gothic Medievalism, in part inspired in turn by Dore's schoolboy years in Strasbourg.</div></div></div>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com2tag:blogger.com,1999:blog-5035391127486680959.post-1504174978451722522008-12-09T15:17:00.000-08:002009-08-03T09:38:33.586-07:00Ugly Duchess Update<div style="text-align: left;"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/STiBs0ebIGI/AAAAAAAAAnY/QhYYGD0Sg0s/s1600-h/04.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 269px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/STiBs0ebIGI/AAAAAAAAAnY/QhYYGD0Sg0s/s400/04.jpg" alt="" id="BLOGGER_PHOTO_ID_5276109570465013858" border="0" /></a></div><div style="text-align: left;"><br /></div><div>A friend rather better than I am at following the news just alerted me to <a href="http://www.guardian.co.uk/culture/2008/oct/11/art-painting">this</a> article, which presents a new theory on Massys' Grotesque Old Woman. The article suggests that Massys' modelled his Duchess on a real person: an old woman with a severe form of Paget's disease.</div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/STiCDMCpkuI/AAAAAAAAAno/a7SRscy9Abg/s1600-h/02.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 332px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/STiCDMCpkuI/AAAAAAAAAno/a7SRscy9Abg/s400/02.jpg" alt="" id="BLOGGER_PHOTO_ID_5276109954748093154" border="0" /></a><br />The drawing attributed to Francesco Melzi (above) could be a copy of a Leonardo drawing, which is now thought not to be an original. The theory is now that Leonardo, or possibly Melzi, copied Massys, not the other way round. This does seem possible, since the drawing is not as detailed.</div><div><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/STiB2bDYDLI/AAAAAAAAAng/yMYGAqQtxr8/s1600-h/03.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 260px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/STiB2bDYDLI/AAAAAAAAAng/yMYGAqQtxr8/s320/03.jpg" alt="" id="BLOGGER_PHOTO_ID_5276109735439371442" border="0" /></a><div><br /></div><div>Though this may initially seem to solve the mystery, it actually adds to the mystery by raising a couple of questions. First of all, who is Leonardo's drawing (above) of? It appears to have been done quickly, so could have been an observational sketch. Unfortunately the top of it is chopped off, so we can't tell if Leonardo's old woman had the distinct headdress or if she was the same as Massys'.</div><div><br /></div><div><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/STiBE4Gv8vI/AAAAAAAAAnI/pmtED1CK3BY/s1600-h/06.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 174px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/STiBE4Gv8vI/AAAAAAAAAnI/pmtED1CK3BY/s320/06.jpg" alt="" id="BLOGGER_PHOTO_ID_5276108884244689650" border="0" /></a><br />The painting is displayed next to the old man painting (shown in an etching above) for the first time in a while, in the exhibition 'Renaissance Faces' at the National Gallery.Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-10875144397002352232008-12-04T14:46:00.000-08:002009-08-03T09:41:17.448-07:00The Ugly Duchess; from Leonardo to Tenniel<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/STiCQ_damkI/AAAAAAAAAnw/UknejacbM_E/s1600-h/01.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 311px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/STiCQ_damkI/AAAAAAAAAnw/UknejacbM_E/s400/01.jpg" alt="" id="BLOGGER_PHOTO_ID_5276110191888865858" border="0" /></a><div><div style="text-align: left;">I find Leonardo's grotesque drawings very interesting, as, even though they are weird and distorted, they somehow look as though they could exist. Most of them were not drawn from observation but from imagination, and Leonardo used the same sort of precise principles in their design - such as dividing the head into lines of latitude for the brow, the nose and the lip - that he was applying to his (far more numerous) drawings of beautiful and youthful faces.<br /></div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/STiCDMCpkuI/AAAAAAAAAno/a7SRscy9Abg/s1600-h/02.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 332px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/STiCDMCpkuI/AAAAAAAAAno/a7SRscy9Abg/s400/02.jpg" alt="" id="BLOGGER_PHOTO_ID_5276109954748093154" border="0" /></a><br /></div><div>This drawing, attributed to Francesco Melzi, is a faithful copy of a lost original by Leonardo (c. 1490). It shows a rather ugly old woman in a somewhat unflattering costume. Her weird, distinct headdress emphasises her oddly-shaped head and sticky out ears, and her revealing costume displays bits of her we would probably rather not see.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/STiB2bDYDLI/AAAAAAAAAng/yMYGAqQtxr8/s1600-h/03.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 260px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/STiB2bDYDLI/AAAAAAAAAng/yMYGAqQtxr8/s320/03.jpg" alt="" id="BLOGGER_PHOTO_ID_5276109735439371442" border="0" /></a><br /></div><div>A surviving, but unfortunately trimmed, drawing by Leonardo himself, from the same year, seems to have been a preparatory sketch for his ugly old woman. Many of his facial studies, both beautiful and grotesque, were done in profile, Leonardo believing such an angle to be the best way to show the features of the face.</div><div><br /></div><div>Leonardo's old woman is not grotesque simply because she is old; it is the woman's vanity and ostentatiousness, reflected in her costume and bearing, that make her ugly. An extract from Erasmus' <span class="Apple-style-span" style="font-style: italic;">Praise of Folly</span> (1511) is included in <span class="Apple-style-span" style="font-style: italic;">Leonardo da Vinci: The Divine and the Grotesque</span> to suggest a similar message to that illustrated in the drawing:<br /></div><div><br /></div><div style="text-align: center;">It is even more amusing to see these old women, so ancient they might as well be dead... They pay a good price for the services of some handsome young Adonis. They never cease smearing their faces with make-up. They can't tear themselves away from the mirror... They show off their withered and flabby breasts... Everyone laughs at these things as utterly foolish (and indeed they are), but the old bags themselves are perfectly self-satisfied.</div><div style="text-align: center;"><br /></div><div style="text-align: left;">Quinten Massys of Antwerp may have seen several of Leonardo's grotesque faces, as he used similar designs in a few of his paintings. One of the gypsy faces in the sketch at the top of this post appears in his <span class="Apple-style-span" style="font-style: italic;">Grotesque Betrothal </span>and, famously, he painted his own <span class="Apple-style-span" style="font-style: italic;">Grotesque Old Woman</span> (c. 1520), which can be seen in the National Gallery in London:</div><div style="text-align: left;"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/STiBs0ebIGI/AAAAAAAAAnY/QhYYGD0Sg0s/s1600-h/04.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 269px; height: 400px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/STiBs0ebIGI/AAAAAAAAAnY/QhYYGD0Sg0s/s400/04.jpg" alt="" id="BLOGGER_PHOTO_ID_5276109570465013858" border="0" /></a><br /></div><div style="text-align: left;">This is certainly one of my favourite paintings in the National Gallery, because it's one of the few paintings that actually puts a smile on people's faces - the laughter is a welcome change from the respectful, decorous hush generally found in museums and galleries. There's also something inherently charming about the old woman's naive ignorance of her own ugliness. The dreamy eyes and coy mouth rally add to the humour.</div><div style="text-align: left;"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/STiBf20v3TI/AAAAAAAAAnQ/rhm3M3NBncQ/s1600-h/05.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 150px; height: 320px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/STiBf20v3TI/AAAAAAAAAnQ/rhm3M3NBncQ/s320/05.jpg" alt="" id="BLOGGER_PHOTO_ID_5276109347757219122" border="0" /></a><br /></div><div style="text-align: left;">While Erasmus accuses vain old ladies of having their eyes on 'some handsome young Adonis', Massys depicted his grotesque old woman as seeking the affections of a man of a similar age, who rejects her offer of a rosebud. The idea may also have been inspired by Leonardo, who drew a <span class="Apple-style-span" style="font-style: italic;">S</span><span class="Apple-style-span" style="font-style: italic;">atire on Aged Lovers </span>(c. 1490, above); however, Leonardo's old man is much more keen on his admirer than Massys' is.</div><div style="text-align: left;"><br /></div><div style="text-align: left;"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/STiBE4Gv8vI/AAAAAAAAAnI/pmtED1CK3BY/s1600-h/06.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 174px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/STiBE4Gv8vI/AAAAAAAAAnI/pmtED1CK3BY/s320/06.jpg" alt="" id="BLOGGER_PHOTO_ID_5276108884244689650" border="0" /></a><br /></div><div style="text-align: left;">Massys' narrative was later depicted in an etching (above) by Wenceslaus Hollar around 1645, under the title <span class="Apple-style-span" style="font-style: italic;">The King and Queen of Tunis</span>, with the old man (not exactly in a position to be fussy, it must be said) rejecting his admirer's advances. The painting of the old woman still works on its own, however; the rosebud she is holding, along with her wistful gaze into (apparently) nothing could be seen to allude to a youth long since lost.</div><div style="text-align: left;"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/STiA3e45R4I/AAAAAAAAAnA/A8wJMXBkwC4/s1600-h/08.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 234px; height: 320px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/STiA3e45R4I/AAAAAAAAAnA/A8wJMXBkwC4/s320/08.jpg" alt="" id="BLOGGER_PHOTO_ID_5276108654137395074" border="0" /></a><br /></div><div style="text-align: left;">Sir John Tenniel is more likely to have used Massys' old woman as a source for his Ugly Duchess in <span class="Apple-style-span" style="font-style: italic;">Alice in Wonderland</span>, because the Leonardo version's headdress does not feature the embroidered pattern seen in the Tenniel illustrations, and the Hollar version does not give the headdress such a distinct shape. The Punch cartoonist could have seen it in the collection of Alfred Seymour; alternatively he may have used an engraving (above) of the painting by Gilles-Antoine Demarteau.</div><div style="text-align: left;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/STiAC3aSw4I/AAAAAAAAAm4/FrG5TpLTxqU/s1600-h/09a.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 117px; height: 200px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/STiAC3aSw4I/AAAAAAAAAm4/FrG5TpLTxqU/s200/09a.jpg" alt="" id="BLOGGER_PHOTO_ID_5276107750186861442" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/STh_-9f8sYI/AAAAAAAAAmw/gU2U12BSyLM/s1600-h/09b.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 138px; height: 200px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/STh_-9f8sYI/AAAAAAAAAmw/gU2U12BSyLM/s200/09b.jpg" alt="" id="BLOGGER_PHOTO_ID_5276107683101716866" border="0" /></a><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/STh_2b-o7_I/AAAAAAAAAmg/8S3QPkwffkw/s1600-h/09c.jpg" style="text-decoration: none;"><span class="Apple-style-span" style="color: rgb(0, 0, 0);"><br /></span><img style="margin: 0px auto 10px; text-decoration: underline; display: block; text-align: center; cursor: pointer; width: 122px; height: 200px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/STh_2b-o7_I/AAAAAAAAAmg/8S3QPkwffkw/s200/09c.jpg" alt="" id="BLOGGER_PHOTO_ID_5276107536664686578" border="0" /></a></div><div style="text-align: left;">But there may have been other sources as well. Tenniel had depicted medieval women with similarly shaped headdresses in several of his Punch cartoons (above), and these women have completely different faces. Furthermore, Tenniel's Duchess' face doesn't really resemble that of Massys'.</div><div style="text-align: left;"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/STh-bJzm7MI/AAAAAAAAAmA/GLkAyxDjC8w/s1600-h/10.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 244px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/STh-bJzm7MI/AAAAAAAAAmA/GLkAyxDjC8w/s400/10.jpg" alt="" id="BLOGGER_PHOTO_ID_5276105968418483394" border="0" /></a><br /></div><div style="text-align: left;">After Gordon Brown, who wasn't around in Lewis Carrol's day, the closest facial resemblance to the Tenniel Duchess can be found in an engraving (above) by F. W. Fairholt for Thomas Wright's <span class="Apple-style-span" style="font-style: italic;">History of Caricature and Grotesque in Literature and Art</span>(1865). The illustration is of a misericord, which often featured grotesque faces. The thuggish face shown quite closely resembles Tenniel's Duchess. It is likely Tenniel had come across the book in his earlier days.</div><div style="text-align: left;"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/STh-QinbkWI/AAAAAAAAAl4/2dJhPkIrqpw/s1600-h/11.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 215px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/STh-QinbkWI/AAAAAAAAAl4/2dJhPkIrqpw/s320/11.jpg" alt="" id="BLOGGER_PHOTO_ID_5276105786099732834" border="0" /></a><br /></div><div style="text-align: left;">This perhaps accounts for the Duchess having a big bulky chin, in contrast to the 'sharp little chin' described by Lewis Carrol. Nevertheless the Tenniel Duchess' chin does at least end in a point, the better to dig into Alice during a conversation. The Tenniel Duchess and her distinctive headdress have been an influence on many of the Alice illustrators, including Gwyneddm Hudson:</div><div style="text-align: left;"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/STh9R0E85gI/AAAAAAAAAlo/LwhnkKIJDoY/s1600-h/12.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 293px; height: 400px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/STh9R0E85gI/AAAAAAAAAlo/LwhnkKIJDoY/s400/12.jpg" alt="" id="BLOGGER_PHOTO_ID_5276104708455196162" border="0" /></a></div></div>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com2tag:blogger.com,1999:blog-5035391127486680959.post-50107563717685503662008-10-31T11:16:00.000-07:002009-08-03T09:43:56.132-07:00Some appropriate images for the occasion<div style="text-align: left;">Some of my favourite 'gothic horror' images - by some of my favourite artists - to get you in the right mood for the occasion. In a sense this is a taster of things to come; I will soon try to do a few posts about Anderson, Delacroix and Clarke's <span class="Apple-style-span" style="font-style: italic;">Faust</span>, Ernst's <span class="Apple-style-span" style="font-style: italic;">Une </span><span class="Apple-style-span" style="font-style: italic;">Semaine de Bonte</span>, and (as always) Dore.</div><div style="text-align: center;"><br /></div><div style="text-align: center;">WAYNE ANDERSON</div><div><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtZ3wRTenI/AAAAAAAAAeg/oNEnZ1SBv3k/s1600-h/1979+the+three+grey+sisters.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 399px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtZ3wRTenI/AAAAAAAAAeg/oNEnZ1SBv3k/s400/1979+the+three+grey+sisters.jpg" alt="" id="BLOGGER_PHOTO_ID_5263399403897715314" border="0" /></a><br /><div style="text-align: center;">S. G. HULME BEAMAN</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SQtZRBsRQzI/AAAAAAAAAeY/kH1QrROjyTw/s1600-h/hyde.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 309px; height: 400px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SQtZRBsRQzI/AAAAAAAAAeY/kH1QrROjyTw/s400/hyde.jpg" alt="" id="BLOGGER_PHOTO_ID_5263398738559320882" border="0" /></a><br /></div><div style="text-align: center;">HARRY CLARKE</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtYJMhKq7I/AAAAAAAAAeQ/ZTzkaXR8IB0/s1600-h/mephisto.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 264px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtYJMhKq7I/AAAAAAAAAeQ/ZTzkaXR8IB0/s400/mephisto.jpg" alt="" id="BLOGGER_PHOTO_ID_5263397504514960306" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtXuHLU03I/AAAAAAAAAeI/65pjoyeO8uk/s1600-h/witch.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 265px; height: 400px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtXuHLU03I/AAAAAAAAAeI/65pjoyeO8uk/s400/witch.jpg" alt="" id="BLOGGER_PHOTO_ID_5263397039224705906" border="0" /></a><br /></div><div style="text-align: center;">EUGENE DELACROIX</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtXhUlfS5I/AAAAAAAAAeA/4f_66Z0cpss/s1600-h/01.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 336px; height: 400px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtXhUlfS5I/AAAAAAAAAeA/4f_66Z0cpss/s400/01.jpg" alt="" id="BLOGGER_PHOTO_ID_5263396819485805458" border="0" /></a></div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SQtWa7xgOKI/AAAAAAAAAd4/jGMNw3dRFzQ/s1600-h/15.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 296px;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SQtWa7xgOKI/AAAAAAAAAd4/jGMNw3dRFzQ/s400/15.jpg" alt="" id="BLOGGER_PHOTO_ID_5263395610234468514" border="0" /></a><br /></div><div style="text-align: center;">GUSTAVE DORE</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtWIxOBmzI/AAAAAAAAAdw/VOy-yLJJfnk/s1600-h/143.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 400px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtWIxOBmzI/AAAAAAAAAdw/VOy-yLJJfnk/s400/143.jpg" alt="" id="BLOGGER_PHOTO_ID_5263395298163661618" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SQtVsdcUEGI/AAAAAAAAAdo/sU-aKL9SGnU/s1600-h/144.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 322px; height: 400px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SQtVsdcUEGI/AAAAAAAAAdo/sU-aKL9SGnU/s400/144.jpg" alt="" id="BLOGGER_PHOTO_ID_5263394811818545250" border="0" /></a><br /></div><div style="text-align: center;">MAX ERNST</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtVPB8Y2YI/AAAAAAAAAdg/VwoHYrS7B7o/s1600-h/hundred+headless+woman+01+let+us+all+thank+satan+and+be+happy+for+the+sympathy+he+has+been+pleased+to+show+us.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 230px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtVPB8Y2YI/AAAAAAAAAdg/VwoHYrS7B7o/s400/hundred+headless+woman+01+let+us+all+thank+satan+and+be+happy+for+the+sympathy+he+has+been+pleased+to+show+us.jpg" alt="" id="BLOGGER_PHOTO_ID_5263394306220677506" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtU_6PDxbI/AAAAAAAAAdY/pSoc93trHmI/s1600-h/court+of+the+dragon+23.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 277px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtU_6PDxbI/AAAAAAAAAdY/pSoc93trHmI/s400/court+of+the+dragon+23.jpg" alt="" id="BLOGGER_PHOTO_ID_5263394046453466546" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtUySb779I/AAAAAAAAAdQ/gBTyfaUentc/s1600-h/court+of+the+dragon+06.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 275px; height: 400px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtUySb779I/AAAAAAAAAdQ/gBTyfaUentc/s400/court+of+the+dragon+06.jpg" alt="" id="BLOGGER_PHOTO_ID_5263393812431761362" border="0" /></a><br /></div><div style="text-align: center;">FRANCISCO GOYA</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SQtTfRUUuuI/AAAAAAAAAdI/vCftIEFbUqQ/s1600-h/72+The+consequences.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 304px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SQtTfRUUuuI/AAAAAAAAAdI/vCftIEFbUqQ/s400/72+The+consequences.jpg" alt="" id="BLOGGER_PHOTO_ID_5263392386202254050" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtSTucO_II/AAAAAAAAAdA/Bu2vXUmN-xs/s1600-h/51.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 282px; height: 400px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtSTucO_II/AAAAAAAAAdA/Bu2vXUmN-xs/s400/51.jpg" alt="" id="BLOGGER_PHOTO_ID_5263391088350002306" border="0" /></a><br /></div><div style="text-align: center;">KAY NIELSEN</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtR3xWHAXI/AAAAAAAAAc4/k5cB38ioSD4/s1600-h/chernabog+green.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 320px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtR3xWHAXI/AAAAAAAAAc4/k5cB38ioSD4/s400/chernabog+green.jpg" alt="" id="BLOGGER_PHOTO_ID_5263390608093282674" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SQtQVnLTSQI/AAAAAAAAAcw/aucMdo5kZV4/s1600-h/chern.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 308px;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SQtQVnLTSQI/AAAAAAAAAcw/aucMdo5kZV4/s400/chern.jpg" alt="" id="BLOGGER_PHOTO_ID_5263388921736415490" border="0" /></a><br /></div><div><div style="text-align: center;">SYDNEY PAGET</div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtMlrD4tyI/AAAAAAAAAcY/Jbuu_5hBB-o/s1600-h/hound.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 296px; height: 400px;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SQtMlrD4tyI/AAAAAAAAAcY/Jbuu_5hBB-o/s400/hound.jpg" alt="" id="BLOGGER_PHOTO_ID_5263384799610451746" border="0" /></a><br /></div><div style="text-align: center;">OTHERS</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtNq1kZ1PI/AAAAAAAAAco/oGyHjhkFSh8/s1600-h/frankenstein.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 311px; height: 400px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtNq1kZ1PI/AAAAAAAAAco/oGyHjhkFSh8/s400/frankenstein.jpg" alt="" id="BLOGGER_PHOTO_ID_5263385987842168050" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtNaJpUmbI/AAAAAAAAAcg/moLIO8RQzo0/s1600-h/dracula.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 261px; height: 400px;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SQtNaJpUmbI/AAAAAAAAAcg/moLIO8RQzo0/s400/dracula.jpg" alt="" id="BLOGGER_PHOTO_ID_5263385701173729714" border="0" /></a></div>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-51631919454006221012008-10-02T03:30:00.000-07:002009-08-03T09:44:24.030-07:00Bateman: The Possibilities of a Vacuum Cleaner<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SP8MGEFuzOI/AAAAAAAAAcQ/EysjZFZd28k/s1600-h/bateman.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SP8MGEFuzOI/AAAAAAAAAcQ/EysjZFZd28k/s400/bateman.jpg" alt="" id="BLOGGER_PHOTO_ID_5259936188108557538" border="0" /></a><div><div style="text-align: left;">One illustrator/cartoonist I'm always surprised to see getting no attention from animation fans is H. M. Bateman. His drawings are always full of movement and character, and often depict comical and complex sequences that would be well suited to the medium.<br /></div><div><div><br /></div><div>One of his very best pieces is the bizarre 'The Possibilities of a Vacuum Cleaner' of 1921, probably the weirdest cartoon he ever drew.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SP8KbRaLHXI/AAAAAAAAAbw/OMpUm45Ero8/s1600-h/vacuum+cleaner1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SP8KbRaLHXI/AAAAAAAAAbw/OMpUm45Ero8/s400/vacuum+cleaner1.jpg" alt="" id="BLOGGER_PHOTO_ID_5259934353437957490" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SP8LoHglgUI/AAAAAAAAAcI/IYM0XPFE3Ns/s1600-h/vacuum+cleaner2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SP8LoHglgUI/AAAAAAAAAcI/IYM0XPFE3Ns/s400/vacuum+cleaner2.jpg" alt="" id="BLOGGER_PHOTO_ID_5259935673630425410" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SP8K7GkqinI/AAAAAAAAAcA/JDBs03Fq6AA/s1600-h/vacuum+cleaner3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SP8K7GkqinI/AAAAAAAAAcA/JDBs03Fq6AA/s400/vacuum+cleaner3.jpg" alt="" id="BLOGGER_PHOTO_ID_5259934900284983922" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SP8K1QroV0I/AAAAAAAAAb4/fS6PlE5JuxA/s1600-h/vacuum+cleaner4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SP8K1QroV0I/AAAAAAAAAb4/fS6PlE5JuxA/s400/vacuum+cleaner4.jpg" alt="" id="BLOGGER_PHOTO_ID_5259934799919339330" border="0" /></a><br /></div><div>I will post much more about Bateman's life and work in the near future.</div></div></div>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-10617966309923701472008-08-23T15:38:00.000-07:002009-08-03T09:44:46.310-07:00David Hall and Alice in Wonderland<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SLGCgYTOosI/AAAAAAAAAbk/oxxtoPmaogQ/s1600-h/hall00.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SLGCgYTOosI/AAAAAAAAAbk/oxxtoPmaogQ/s400/hall00.jpg" alt="" id="BLOGGER_PHOTO_ID_5238111334399124162" border="0" /></a><br />News of the upcoming 'Alice in Wonderland' adaptation from Tim Burton has brought me back to Disney's 1951 animated version. Though not the best Disney film, it is undoubtedly one of the most interesting and probably my favorite of Disney's 50s output - it does not work together cohesively as a whole, but showcases a great deal of imagination as far as style and staging are concerned.<br /><br />Disney's history with alice began with Walt's own interest in the material, which he claimed was his favorite piece of English literature. Thoughts of a direct adaptation were in his mind as early as 1931, when he purchased the rights to Sir John Tenniel's illustrations.<div><br /></div><div>I fully believe Tenniel must be given as much credit as Lewis Carroll himself for the endurance of <span class="Apple-style-span" style="font-style: italic;">Wonderland</span> and <span class="Apple-style-span" style="font-style: italic;">Through the Looking Glass</span> and the images the material conjures up. Just as mention of Sherlock Holmes automatically brings to mind the image established largely by illustrator Sidney Paget, so is Tenniel so irremovably linked to the denizens of Carroll's imagination. Though the collaboration was not an easy one - Carroll disapproving of a number of Tenniel's creative decisions - it is extremely difficult to read the text without thinking of these events taking place in the world specifically depicted by the Punch cartoonist.<div><br /></div><div>In 1938, Al Perkins, a story-man at the Disney studio, was appointed to research the material, resulting in a 161-page analysis of the book, suggesting possible approaches to adapting the book. This coincided with the hiring of inspirational sketch artist David Hall, an Irishman who had experience in live-action set design, having worked on, among other films, Cecil B. DeMille's <span class="Apple-style-span" style="font-style: italic;">The King of Kings</span>. Hall adapted many of Perkins' ideas into storyboards and inspirational sketches, using a combination of pencil, watercolour and ink.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SLGCUVDh3TI/AAAAAAAAAbc/75rxJqdpA_I/s1600-h/hall01.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SLGCUVDh3TI/AAAAAAAAAbc/75rxJqdpA_I/s400/hall01.jpg" alt="" id="BLOGGER_PHOTO_ID_5238111127369538866" border="0" /></a></div><div><br /></div><div>The little that is known of Hall's life is covered in John Canemaker's <span class="Apple-style-span" style="font-style: italic;">Before the Animation Begins</span>. Canemaker has compared Hall's inspirational sketches for <span class="Apple-style-span" style="font-style: italic;">Alice </span>and <span class="Apple-style-span" style="font-style: italic;">Peter Pan</span> to the illustrations of Beatrix Potter (<span class="Apple-style-span" style="font-style: italic;">Peter Rabbit</span>) and of Arthur Rackham (who had himself illustrated <span class="Apple-style-span" style="font-style: italic;">Alice</span>); however, Hall's work is both less finished and more energetic, with a sense of movement very suitable for Wonderland and its residents.</div><div><br /></div><div>Hall was ordered to remain faithful to Tenniel. However, while Tenniel's illustrations remain very static - partly a result of the method of reproduction via etching in those days - Hall endows everything with movement more suitable for transition to the big screen. More cinematic too is Hall's approach to scale. Alice's journey down the rabbit-hole is an epic fall through a vast space populated by clouds, gems, ice, bubbles and bats; and the Queen of Hearts' castle is an immense, foreboding fortress silhouetted against an uneasy sky.</div><div><br /></div><div>Hall's depictions of events at the Queen's Castle and Croquet-Ground are among his most interesting sketches. Used in this post are a mere selection images that can be downloaded from Thad Komorowski's <a href="http://thadkomorowski.com/2008/06/21/david-halls-alice-boards-the-zip-file/">blog</a>; the larger images are from the aforementioned <span class="Apple-style-span" style="font-style: italic;">Before the Animation Begins</span>, an edition of <span class="Apple-style-span" style="font-style: italic;">Alice in Wonderland</span> abundantly illustrated with Hall's sketches, and the catalogue from the exhibition <span class="Apple-style-span" style="font-style: italic;">Il Etait une Fois: Walt Disney.</span></div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGB60F-RfI/AAAAAAAAAbU/Jco8n66mb24/s1600-h/hall02.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGB60F-RfI/AAAAAAAAAbU/Jco8n66mb24/s400/hall02.jpg" alt="" id="BLOGGER_PHOTO_ID_5238110689024689650" border="0" /></a></div><div><br /></div><div>As in the book and 1951 film, Alice first encounters three gardeners painting white roses red. </div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGByCWdQKI/AAAAAAAAAbM/Dw5_zaa1POs/s1600-h/hall03.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGByCWdQKI/AAAAAAAAAbM/Dw5_zaa1POs/s200/hall03.jpg" alt="" id="BLOGGER_PHOTO_ID_5238110538233102498" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGBuJcJIXI/AAAAAAAAAbE/DLdMeRQfHhM/s1600-h/hall04.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGBuJcJIXI/AAAAAAAAAbE/DLdMeRQfHhM/s200/hall04.jpg" alt="" id="BLOGGER_PHOTO_ID_5238110471416521074" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGBlF0dZlI/AAAAAAAAAa8/dEtmNHuOl9Y/s1600-h/hall05.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGBlF0dZlI/AAAAAAAAAa8/dEtmNHuOl9Y/s200/hall05.jpg" alt="" id="BLOGGER_PHOTO_ID_5238110315825948242" border="0" /></a><br /></div><div>Meanwhile, hoses, watering cans, lawnmowers and shears are busily at work without the aid of gardeners, in a manner somewhat reminiscent of the sketches of fellow inspirational sketch artist Albert Hurter.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SLGBXN_cEgI/AAAAAAAAAa0/3lOe11HwkrE/s1600-h/hall06.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SLGBXN_cEgI/AAAAAAAAAa0/3lOe11HwkrE/s200/hall06.jpg" alt="" id="BLOGGER_PHOTO_ID_5238110077501313538" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGBRh8L4gI/AAAAAAAAAas/rfiU_P7dZ_M/s1600-h/hall07.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGBRh8L4gI/AAAAAAAAAas/rfiU_P7dZ_M/s200/hall07.jpg" alt="" id="BLOGGER_PHOTO_ID_5238109979777163778" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SLGBM-3XP6I/AAAAAAAAAak/xqosLo_0Leo/s1600-h/hall08.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SLGBM-3XP6I/AAAAAAAAAak/xqosLo_0Leo/s200/hall08.jpg" alt="" id="BLOGGER_PHOTO_ID_5238109901642219426" border="0" /></a><br /></div><div>Dissatisfied with the volume with which the White Rabbit heralds her arrival, the Queen knocks him out of the way and does it herself.</div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGBAHup39I/AAAAAAAAAac/AV5gLvx8cZE/s1600-h/hall09.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGBAHup39I/AAAAAAAAAac/AV5gLvx8cZE/s400/hall09.jpg" alt="" id="BLOGGER_PHOTO_ID_5238109680683311058" border="0" /></a><br /></div><div>Al Perkins' treatment made several attempts to link the episodic events of the story together. As a result, much of the cast encountered earlier in the film attend the Queen's croquet game. Besides Alice, the Queen, the King (asleep), the Knave, the White Rabbit and the soldiers, this scene also features the Duchess (who does not appear in the final film) and her baby-turned pig, with her frog and fish footmen acting as caddies. The Caterpillar, Hatter, March Hare and Dormouse are also taking part, as are the Dodo and his companions from the Caucus Race earlier in the story. We can also see a fool (presumably a reference to the Joker card) and a figure in a red hood. More on him later.</div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGAuSBU3NI/AAAAAAAAAaU/7ANeog-2yZs/s1600-h/hall10.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLGAuSBU3NI/AAAAAAAAAaU/7ANeog-2yZs/s400/hall10.JPG" alt="" id="BLOGGER_PHOTO_ID_5238109374208335058" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SLGAkQFNDrI/AAAAAAAAAaM/rcsNvnEyaZs/s1600-h/hall11.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SLGAkQFNDrI/AAAAAAAAAaM/rcsNvnEyaZs/s400/hall11.JPG" alt="" id="BLOGGER_PHOTO_ID_5238109201889038002" border="0" /></a></div><div><br /></div><div>Following the game the party proceeds to the castle, presented here in a long sketch to indicate a pan. I've split the sketch in two here. This is a spectacular scene, full of life and character; however, the castle at left suggests that we are entering a darker part of the story, and the presence of gallows up above, with a corpse hanging from them certainly can't bode well. Indeed, the imagery becomes more and more nightmarish as we progress.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SLGAZJDjU-I/AAAAAAAAAaE/Os4gsBVIM3U/s1600-h/hall12.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SLGAZJDjU-I/AAAAAAAAAaE/Os4gsBVIM3U/s200/hall12.jpg" alt="" id="BLOGGER_PHOTO_ID_5238109011024499682" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SLGAULJk8YI/AAAAAAAAAZ8/q1uAEPWf7Yo/s1600-h/hall13.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SLGAULJk8YI/AAAAAAAAAZ8/q1uAEPWf7Yo/s200/hall13.jpg" alt="" id="BLOGGER_PHOTO_ID_5238108925687296386" border="0" /></a><br /></div><div>The red hooded figure we saw earlier is apparently the assistant and train-bearer for the executioner, a dark, sinister figure cloaked entirely in black - a far cry from the diminutive, comical figure from the original book and illustrations.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SLGAEJ8KMwI/AAAAAAAAAZ0/Nf4tf1trSS4/s1600-h/hall14.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SLGAEJ8KMwI/AAAAAAAAAZ0/Nf4tf1trSS4/s200/hall14.jpg" alt="" id="BLOGGER_PHOTO_ID_5238108650484675330" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SLF__fXJYHI/AAAAAAAAAZs/tvZJAshtLkk/s1600-h/hall15.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SLF__fXJYHI/AAAAAAAAAZs/tvZJAshtLkk/s320/hall15.jpg" alt="" id="BLOGGER_PHOTO_ID_5238108570335666290" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF_3OHxRuI/AAAAAAAAAZk/jnqxBesCAB8/s1600-h/hall16.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF_3OHxRuI/AAAAAAAAAZk/jnqxBesCAB8/s200/hall16.jpg" alt="" id="BLOGGER_PHOTO_ID_5238108428268816098" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SLF_xB7HazI/AAAAAAAAAZc/TDBF0AhVGVI/s1600-h/hall17.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SLF_xB7HazI/AAAAAAAAAZc/TDBF0AhVGVI/s200/hall17.jpg" alt="" id="BLOGGER_PHOTO_ID_5238108321915300658" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF_pJS1c1I/AAAAAAAAAZU/BXdp-Ju3tz4/s1600-h/hall18.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF_pJS1c1I/AAAAAAAAAZU/BXdp-Ju3tz4/s400/hall18.jpg" alt="" id="BLOGGER_PHOTO_ID_5238108186454881106" border="0" /></a></div><div><br /></div><div>The trial of the Knave of Hearts takes place in a courtroom of tall boxes and long, winding staircases. The Knave himself is in far more chains than necessary to emphasise the cruelty of his oppressors, and the Cheshire Cat is present - first as a headless steward handing out programs, then as a barrister.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SLF_NmNC1uI/AAAAAAAAAZM/pGhyEoEHxKY/s1600-h/hall19.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SLF_NmNC1uI/AAAAAAAAAZM/pGhyEoEHxKY/s200/hall19.jpg" alt="" id="BLOGGER_PHOTO_ID_5238107713178883810" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF_JjUbG6I/AAAAAAAAAZE/XnWCPBd9GKw/s1600-h/hall20.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF_JjUbG6I/AAAAAAAAAZE/XnWCPBd9GKw/s200/hall20.jpg" alt="" id="BLOGGER_PHOTO_ID_5238107643685051298" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SLF-_q-k1cI/AAAAAAAAAY8/gYFi41sxYfU/s1600-h/hall21.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SLF-_q-k1cI/AAAAAAAAAY8/gYFi41sxYfU/s200/hall21.jpg" alt="" id="BLOGGER_PHOTO_ID_5238107473942205890" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF-7mb3ceI/AAAAAAAAAY0/Xgs77BrhjS0/s1600-h/hall22.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF-7mb3ceI/AAAAAAAAAY0/Xgs77BrhjS0/s200/hall22.jpg" alt="" id="BLOGGER_PHOTO_ID_5238107404003406306" border="0" /></a><br /></div><div>From what I can see in the storyboards, the story involved the Knave being done in by some sort of exploding cannon (another Hurter-esque creation). The Queen sentences Alice to be executed, and we enter the film's climax.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SLF-s7nUDnI/AAAAAAAAAYs/WP-ycYsGS88/s1600-h/hall23.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SLF-s7nUDnI/AAAAAAAAAYs/WP-ycYsGS88/s200/hall23.jpg" alt="" id="BLOGGER_PHOTO_ID_5238107151990525554" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SLF-mhZqutI/AAAAAAAAAYk/SAEq_6hmJOM/s1600-h/hall24.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SLF-mhZqutI/AAAAAAAAAYk/SAEq_6hmJOM/s200/hall24.jpg" alt="" id="BLOGGER_PHOTO_ID_5238107041874754258" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SLF-g-cIq1I/AAAAAAAAAYc/WYfiQVJ7lCU/s1600-h/hall25.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SLF-g-cIq1I/AAAAAAAAAYc/WYfiQVJ7lCU/s200/hall25.jpg" alt="" id="BLOGGER_PHOTO_ID_5238106946590518098" border="0" /></a></div><div><br /></div><div>The door of the dungeon opens out to a sheer drop. The Queen does not seem to want Alice to go so easily and leads her instead up a spiral staircase to the top of the castle's highest tower.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SLF-UhHk2iI/AAAAAAAAAYU/6fzZn4lukv4/s1600-h/hall26.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SLF-UhHk2iI/AAAAAAAAAYU/6fzZn4lukv4/s400/hall26.jpg" alt="" id="BLOGGER_PHOTO_ID_5238106732561226274" border="0" /></a><br /></div><div>This is perhaps the darkest of all of Hall's inspirational sketches for the film. The Queen and the black-clad executioner lead Alice to the guillotine, which is being prepared by the red henchman. Sinister hooded drummers line the tower's battlements, while more minions, forced on by an overseer, operate the necessary equipment to move the blade of the guillotine, which reaches towards the viewer. Despair is emphasised - the stairs Alice is climbing are transforming into cards and collapsing behind her, leaving her no option but to continue to her death. Nor is there any mode of escape around the guillotine itself, which is surrounded by a sheer drop. Not to be too graphic, but that which is decapitated would simply fall, seemingly to infinity. The other towers scattered about the edges of the frame give the viewer an idea of the vastness of it all.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SLF8sF8rgWI/AAAAAAAAAYM/Khj37donEYg/s1600-h/hall27.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SLF8sF8rgWI/AAAAAAAAAYM/Khj37donEYg/s200/hall27.jpg" alt="" id="BLOGGER_PHOTO_ID_5238104938561372514" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF8evOP30I/AAAAAAAAAYE/vae3aSPvdvI/s1600-h/hall28.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF8evOP30I/AAAAAAAAAYE/vae3aSPvdvI/s200/hall28.jpg" alt="" id="BLOGGER_PHOTO_ID_5238104709122744130" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SLF8X4rdswI/AAAAAAAAAX8/GDM1GeOwwFk/s1600-h/hall29.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SLF8X4rdswI/AAAAAAAAAX8/GDM1GeOwwFk/s200/hall29.jpg" alt="" id="BLOGGER_PHOTO_ID_5238104591402119938" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF8SY0wF5I/AAAAAAAAAX0/tlWpmoFrDp8/s1600-h/hall30.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF8SY0wF5I/AAAAAAAAAX0/tlWpmoFrDp8/s200/hall30.jpg" alt="" id="BLOGGER_PHOTO_ID_5238104496951793554" border="0" /></a></div><div><br /></div><div>The ending continues to resemble nightmares in which the dreamer has no choice but to die. Straps tie themselves around Alice as the Queen looks on in anticipation. Taking it a step further the Queen becomes, in a way, the death herald, climbing onto the blade in order that she be able to ride it down as it does its job. She's done this before.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF8Mr4nCjI/AAAAAAAAAXs/KA9yBoFKDyM/s1600-h/hall31.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SLF8Mr4nCjI/AAAAAAAAAXs/KA9yBoFKDyM/s200/hall31.jpg" alt="" id="BLOGGER_PHOTO_ID_5238104398989036082" border="0" /></a><br /></div><div>Just as the blade screeches towards Alice, of course...</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SLF73vyRrDI/AAAAAAAAAXk/OuzJ1AZjk_Y/s1600-h/hall32.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SLF73vyRrDI/AAAAAAAAAXk/OuzJ1AZjk_Y/s200/hall32.jpg" alt="" id="BLOGGER_PHOTO_ID_5238104039258958898" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SLF7twn8LRI/AAAAAAAAAXc/7VoNc_DVOsQ/s1600-h/hall33.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SLF7twn8LRI/AAAAAAAAAXc/7VoNc_DVOsQ/s200/hall33.jpg" alt="" id="BLOGGER_PHOTO_ID_5238103867685350674" border="0" /></a><br /></div><div>She escapes the nightmare, the blade lingering a little as everything else transforms into a simple pack of cards swirling about her. The cards eventually become the leaves of the garden she sits in in the 'real world'.</div><div><br /></div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SLF7oUdv5yI/AAAAAAAAAXU/Xe89yh0p7bo/s1600-h/hall34.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SLF7oUdv5yI/AAAAAAAAAXU/Xe89yh0p7bo/s200/hall34.jpg" alt="" id="BLOGGER_PHOTO_ID_5238103774227064610" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SLF7i47dplI/AAAAAAAAAXM/mP_rkmnfIVc/s1600-h/hall35.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SLF7i47dplI/AAAAAAAAAXM/mP_rkmnfIVc/s200/hall35.jpg" alt="" id="BLOGGER_PHOTO_ID_5238103680936158802" border="0" /></a><br />The climax of the 1938 plot for the film would perhaps have made this the most terrifying of Disney features, with its imagery of hanging corpses and guillotines, and a frighteningly bloodthirsty Queen of Hearts. Ultimately the film ended up much lighter, with a greater deal of slapstick and arguably an approach better suited to animation. The Queen was made rather more comical - and, I must say, a thoroughly entertaining character, even though her animator, Frank Thomas, was not satisfied with his work - and we do not follow her victims as they are dragged to the execution block.</div><div><br /></div><div>Though the film is ultimately kept in the realm of fantasy much more, many viewers find the film scary, not through the danger of death as in the storyboards and sketches shown here, but in the unnerving quality certain aspects of the film, such as the Cheshire Cat, create. It should also be noted that the original book probably wasn't as dark or scary as the likes of American McGee may suggest - just weird and wonderful, and most of the time satyrical. The Queen of Carroll's Wonderland is just as eager to behead, but the majority of those she sentences are pardoned behind her back, and the Gryphon even claims that no-one is executed. Will Burton take the darker or lighter route with the Queen?<br /><br /></div><div>For a treasure trove of Hall storyboards, visit <a href="http://thadkomorowski.com/2008/06/21/david-halls-alice-boards-the-zip-file/">Thad Komorowski</a>.</div></div>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com4tag:blogger.com,1999:blog-5035391127486680959.post-37698468459029369432008-08-04T04:49:00.000-07:002008-11-12T19:40:11.137-08:00Gallery WebsiteFor the time being, my website is up and running, courtesy of The Artist's Web. Click on the link at top right to have a look.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SJb1MrK7NzI/AAAAAAAAAUk/MYk9ozTQ-kI/s1600-h/gordon2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SJb1MrK7NzI/AAAAAAAAAUk/MYk9ozTQ-kI/s320/gordon2.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5230637615333193522" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SJb1HcnM7GI/AAAAAAAAAUc/7KpYUkkX0tw/s1600-h/snail.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SJb1HcnM7GI/AAAAAAAAAUc/7KpYUkkX0tw/s320/snail.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5230637525525916770" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SJb08a27ZuI/AAAAAAAAAUU/nTfRFNgg4bQ/s1600-h/Greta+Garbo.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SJb08a27ZuI/AAAAAAAAAUU/nTfRFNgg4bQ/s320/Greta+Garbo.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5230637336076445410" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SJb03Lg5goI/AAAAAAAAAUM/VFCPchU3wL4/s1600-h/ladder.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SJb03Lg5goI/AAAAAAAAAUM/VFCPchU3wL4/s320/ladder.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5230637246058168962" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SJb0wDPyhcI/AAAAAAAAAUE/NO7BTvGRvXg/s1600-h/Marlon+Brando+in+%27The+Godfather%27.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SJb0wDPyhcI/AAAAAAAAAUE/NO7BTvGRvXg/s320/Marlon+Brando+in+%27The+Godfather%27.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5230637123579839938" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SJb0oihtlTI/AAAAAAAAAT8/rCqQrnHb18U/s1600-h/hag.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SJb0oihtlTI/AAAAAAAAAT8/rCqQrnHb18U/s320/hag.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5230636994537559346" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SJbzF-bVXqI/AAAAAAAAAT0/VTnFnNwWb_g/s1600-h/12+foot+leveler.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SJbzF-bVXqI/AAAAAAAAAT0/VTnFnNwWb_g/s320/12+foot+leveler.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5230635301219950242" /></a>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-60756163211166474892008-08-02T01:29:00.000-07:002009-08-03T09:45:23.643-07:00Richard Doyle's Illustrations for 'The King of the Golden River, or the Black Brothers'<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SGyZoTMSbqI/AAAAAAAAAPk/_Cha0HzUjQk/s1600-h/goldenfirecover.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SGyZoTMSbqI/AAAAAAAAAPk/_Cha0HzUjQk/s320/goldenfirecover.jpg" alt="" id="BLOGGER_PHOTO_ID_5218714985841192610" border="0" /></a><br /><div>Doyle's illustrations for Ruskin's fairy tale create a fantastical environment teeming with life. I particularly like his depiction of the personified wind, featured in the frontispiece below, and Gluck, the dwarf, who first appears in the fourth illustration.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SJQeeYU-TeI/AAAAAAAAATc/C43FAgr7zkM/s1600-h/goldenfire01.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SJQeeYU-TeI/AAAAAAAAATc/C43FAgr7zkM/s320/goldenfire01.jpg" alt="" id="BLOGGER_PHOTO_ID_5229838574559317474" border="0" /></a>Here are all of Ruskin's illustrations for this curious little book, though only the frontispiece and title page are full-page illustrations. Those interested in the story itself can read it on <a href="http://en.wikipedia.org/wiki/The_King_of_the_Golden_River">Wikipedia</a>.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SJQeFbKx18I/AAAAAAAAATU/QaoGim79hoo/s1600-h/goldenfire02.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SJQeFbKx18I/AAAAAAAAATU/QaoGim79hoo/s320/goldenfire02.jpg" alt="" id="BLOGGER_PHOTO_ID_5229838145825134530" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SJQdt3NXgyI/AAAAAAAAATM/hl1nD60Met8/s1600-h/goldenfire03.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SJQdt3NXgyI/AAAAAAAAATM/hl1nD60Met8/s320/goldenfire03.jpg" alt="" id="BLOGGER_PHOTO_ID_5229837741035324194" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SJQdLRS99KI/AAAAAAAAATE/uUggGpf73u4/s1600-h/goldenfire04.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SJQdLRS99KI/AAAAAAAAATE/uUggGpf73u4/s320/goldenfire04.jpg" alt="" id="BLOGGER_PHOTO_ID_5229837146742715554" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SJQc8pqX4fI/AAAAAAAAAS8/J1ISxhXntRM/s1600-h/goldenfire05.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SJQc8pqX4fI/AAAAAAAAAS8/J1ISxhXntRM/s320/goldenfire05.jpg" alt="" id="BLOGGER_PHOTO_ID_5229836895585296882" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SJQcszoku5I/AAAAAAAAAS0/eK5Wgw8bb_s/s1600-h/goldenfire06.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SJQcszoku5I/AAAAAAAAAS0/eK5Wgw8bb_s/s320/goldenfire06.jpg" alt="" id="BLOGGER_PHOTO_ID_5229836623384198034" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SJQcX2VTlnI/AAAAAAAAASs/nd1kPbNhLcU/s1600-h/goldenfire07.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SJQcX2VTlnI/AAAAAAAAASs/nd1kPbNhLcU/s320/goldenfire07.jpg" alt="" id="BLOGGER_PHOTO_ID_5229836263331436146" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SJQcEYZcb3I/AAAAAAAAASk/31lGLJ0g06Y/s1600-h/goldenfire08.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SJQcEYZcb3I/AAAAAAAAASk/31lGLJ0g06Y/s320/goldenfire08.jpg" alt="" id="BLOGGER_PHOTO_ID_5229835928878215026" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SJQbyFx8ExI/AAAAAAAAASc/ZGzbh4x5ebc/s1600-h/goldenfire09.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SJQbyFx8ExI/AAAAAAAAASc/ZGzbh4x5ebc/s320/goldenfire09.jpg" alt="" id="BLOGGER_PHOTO_ID_5229835614643032850" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SJQbfKLFlCI/AAAAAAAAASU/6GLmBXK1hRY/s1600-h/goldenfire10.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SJQbfKLFlCI/AAAAAAAAASU/6GLmBXK1hRY/s320/goldenfire10.jpg" alt="" id="BLOGGER_PHOTO_ID_5229835289404740642" border="0" /></a><br /><span class="Apple-style-span" style="white-space: pre-wrap;font-family:'Lucida Grande';font-size:11;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SHFc-En9P6I/AAAAAAAAARU/B_a-xGTzDug/s1600-h/goldenfire11.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SHFc-En9P6I/AAAAAAAAARU/B_a-xGTzDug/s320/goldenfire11.jpg" alt="" id="BLOGGER_PHOTO_ID_5220055664562093986" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SHEmGghe6yI/AAAAAAAAARM/zy3jDipY5jk/s1600-h/goldenfire12.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SHEmGghe6yI/AAAAAAAAARM/zy3jDipY5jk/s320/goldenfire12.jpg" alt="" id="BLOGGER_PHOTO_ID_5219995336350559010" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SHEbInQdpYI/AAAAAAAAARE/c35G1UenpaU/s1600-h/goldenfire13.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SHEbInQdpYI/AAAAAAAAARE/c35G1UenpaU/s320/goldenfire13.jpg" alt="" id="BLOGGER_PHOTO_ID_5219983277890053506" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SHEPaHfUvlI/AAAAAAAAAQ8/8Zc0w8eEXxA/s1600-h/goldenfire14.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SHEPaHfUvlI/AAAAAAAAAQ8/8Zc0w8eEXxA/s320/goldenfire14.jpg" alt="" id="BLOGGER_PHOTO_ID_5219970384460562002" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SHEO6qHVQ_I/AAAAAAAAAQ0/bD8Rzcy3Bo8/s1600-h/goldenfire15.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SHEO6qHVQ_I/AAAAAAAAAQ0/bD8Rzcy3Bo8/s320/goldenfire15.jpg" alt="" id="BLOGGER_PHOTO_ID_5219969843999359986" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SGyxZ4UJxSI/AAAAAAAAAQs/-zUN8omeDkg/s1600-h/goldenfire16.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SGyxZ4UJxSI/AAAAAAAAAQs/-zUN8omeDkg/s320/goldenfire16.jpg" alt="" id="BLOGGER_PHOTO_ID_5218741126387320098" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SGyxGM9RhbI/AAAAAAAAAQk/nGcXRZrYWYs/s1600-h/goldenfire17.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SGyxGM9RhbI/AAAAAAAAAQk/nGcXRZrYWYs/s320/goldenfire17.jpg" alt="" id="BLOGGER_PHOTO_ID_5218740788331120050" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SGyw4IS5HlI/AAAAAAAAAQc/wqx8Cuefp8g/s1600-h/goldenfire18.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SGyw4IS5HlI/AAAAAAAAAQc/wqx8Cuefp8g/s320/goldenfire18.jpg" alt="" id="BLOGGER_PHOTO_ID_5218740546561449554" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SGywoFVpD1I/AAAAAAAAAQU/XJLYCgEUwg8/s1600-h/goldenfire19.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SGywoFVpD1I/AAAAAAAAAQU/XJLYCgEUwg8/s320/goldenfire19.jpg" alt="" id="BLOGGER_PHOTO_ID_5218740270889766738" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SGywE46gvmI/AAAAAAAAAQM/gw22-qpLLsg/s1600-h/goldenfire20.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SGywE46gvmI/AAAAAAAAAQM/gw22-qpLLsg/s320/goldenfire20.jpg" alt="" id="BLOGGER_PHOTO_ID_5218739666259328610" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SGyb4nW9aII/AAAAAAAAAQE/Td6EvSfpiwI/s1600-h/goldenfire21.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SGyb4nW9aII/AAAAAAAAAQE/Td6EvSfpiwI/s320/goldenfire21.jpg" alt="" id="BLOGGER_PHOTO_ID_5218717465155823746" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SGybkpfIOlI/AAAAAAAAAP8/3C3g7pibTNs/s1600-h/goldenfire22.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SGybkpfIOlI/AAAAAAAAAP8/3C3g7pibTNs/s320/goldenfire22.jpg" alt="" id="BLOGGER_PHOTO_ID_5218717122129574482" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SGybUKhFKcI/AAAAAAAAAP0/Yb91SogTdic/s1600-h/goldenfire23.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SGybUKhFKcI/AAAAAAAAAP0/Yb91SogTdic/s320/goldenfire23.jpg" alt="" id="BLOGGER_PHOTO_ID_5218716838938356162" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SGybCvy10nI/AAAAAAAAAPs/KqP7u1cN3Ic/s1600-h/goldenfire24.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SGybCvy10nI/AAAAAAAAAPs/KqP7u1cN3Ic/s320/goldenfire24.jpg" alt="" id="BLOGGER_PHOTO_ID_5218716539707314802" border="0" /></a></span></div>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-42674315019537309302008-07-22T08:09:00.000-07:002008-11-12T19:40:14.524-08:00I'm Alive<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SIX5XAuYf4I/AAAAAAAAARc/uGeCWIkWc6E/s1600-h/executives.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SIX5XAuYf4I/AAAAAAAAARc/uGeCWIkWc6E/s320/executives.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5225857116360179586" /></a><br />Just a quick pot to confirm that I shall continue to update this blog. I am also working on a website, which I will post a link to soon.<br /><br />Expect posts on Richard Doyle and Harry Clarke in the near future.Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-19083822077593083742008-04-12T08:21:00.000-07:002009-08-03T09:45:47.462-07:00Gustave Dore's 'Droll Stories' illustrations'Without doubt the best work ever done by Gustave Dore was that for the <span class="Apple-style-span" style="font-style: italic;">Contes Drolatiques</span>,' declares a <span class="Apple-style-span" style="font-style: italic;">New York Times</span> article of January 24, 1883, looking back on all of Gustave Dore's work. 'We will place next the wood-cuts for Rabelais followed by the great series of drawings for <span class="Apple-style-span" style="font-style: italic;">Dante's Inferno</span>.'<div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SADeyTtw1EI/AAAAAAAAAM8/_6igkrr377A/s1600-h/balzac001.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SADeyTtw1EI/AAAAAAAAAM8/_6igkrr377A/s320/balzac001.jpg" alt="" id="BLOGGER_PHOTO_ID_5188391726597854274" border="0" /></a><br /></div><div>That one of Dore's earliest sets of illustrations - his only great publication before this was Rabelais' <span class="Apple-style-span" style="font-style: italic;">Gargantua and Pantagruel</span> in 1854 - is considered his best work by the <span class="Apple-style-span" style="font-style: italic;">New York Times</span> critic (I am unable to find the name of the writer of the article) suggests that certain qualities may have been lost in his later work. Indeed, as Dore became more and more determined to be appreciated as an artist rather than an illustrator his work seems to have lost some of its charm, though there is no doubt that his draughtsmanship and imagination, qualities for which he is most admired, remained right up to the very end.</div><div><br /></div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SAD-bjtw1QI/AAAAAAAAAOc/71eym9fFGhQ/s1600-h/balzac058.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SAD-bjtw1QI/AAAAAAAAAOc/71eym9fFGhQ/s320/balzac058.jpg" alt="" id="BLOGGER_PHOTO_ID_5188426520127919362" border="0" /></a></div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SAEBuDtw1SI/AAAAAAAAAOs/RwAwHVBbXWc/s1600-h/balzac217.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SAEBuDtw1SI/AAAAAAAAAOs/RwAwHVBbXWc/s320/balzac217.jpg" alt="" id="BLOGGER_PHOTO_ID_5188430136490382626" border="0" /></a><br /></div><div>His illustrations for Balzac's <span class="Apple-style-span" style="font-style: italic;">Droll Stories</span> are the most gothic of all of Dore's work. The full-page illustrations that are not dominated by the grotesque main characters feature moody skylines framed with ridiculously tall spires and dark, foreboding fortresses, while gallows, most of them put to use, are dotted over the land down below. The twisted medieval city is Dore's expressionist vision of Strasbourg, a place with which he was very familiar; he passed the cathedral every day on the way to school. I'm strongly reminded of the villages in <span class="Apple-style-span" style="font-style: italic;">Der Golem</span> and <span class="Apple-style-span" style="font-style: italic;">Faust</span>.<br /></div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD_cztw1RI/AAAAAAAAAOk/gmB_TYRyyJ8/s1600-h/balzac213.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD_cztw1RI/AAAAAAAAAOk/gmB_TYRyyJ8/s320/balzac213.jpg" alt="" id="BLOGGER_PHOTO_ID_5188427641114383634" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SAECaztw1TI/AAAAAAAAAO0/Y22WT8kmlTA/s1600-h/balzac332.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SAECaztw1TI/AAAAAAAAAO0/Y22WT8kmlTA/s320/balzac332.jpg" alt="" id="BLOGGER_PHOTO_ID_5188430905289528626" border="0" /></a><br /></div><div>There is a tremendous amount of physical comedy juxtaposed with the extravagant horror. One of my favorite illustrations shows hundreds of bodies hanging from gallows, with ravens setting to work on them so eagerly that they lift some of the bodies, some uprooting the gallows as they do so. Another shows a young lover, in mid woo, being sliced in two by a rival for the object of his affections. Dore's boisterous vulgarity - which he represses in much of his later work - has never been more at home!</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SAEGCjtw1XI/AAAAAAAAAPU/rifgzUr11KU/s1600-h/balzac152.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SAEGCjtw1XI/AAAAAAAAAPU/rifgzUr11KU/s320/balzac152.jpg" alt="" id="BLOGGER_PHOTO_ID_5188434886724212082" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SAEDRjtw1UI/AAAAAAAAAO8/PghZeVQ0SF8/s1600-h/balzac350.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SAEDRjtw1UI/AAAAAAAAAO8/PghZeVQ0SF8/s320/balzac350.jpg" alt="" id="BLOGGER_PHOTO_ID_5188431845887366466" border="0" /></a></div><div><br /></div><div>The character designs are wildly imaginative. Filling one or two full-page illustrations and quite a few vignettes are swarms of rotund monks (refugees from Dore's Rabelais illustrations) who specialize in falling over in comical fashion. There are also a number of characters who stay in their armor - helmets and all - all the time, feasting, reading and, indeed, sleeping with maidens with the stuff on. The only characters that disappoint are the beautiful women - as is always the case, they are little more than stock archetypes. Admittedly, though, they are more interesting than the damsels in distress featured in his later Perrault fairy tale illustrations, and they are surrounded by such an interesting cast of characters that it doesn't really matter - the diminutive servant carrying his mistress' ridiculously long train is a nice touch.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SAEFJTtw1VI/AAAAAAAAAPE/vPRLwxSbO9g/s1600-h/balzac103.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SAEFJTtw1VI/AAAAAAAAAPE/vPRLwxSbO9g/s320/balzac103.jpg" alt="" id="BLOGGER_PHOTO_ID_5188433903176701266" border="0" /></a><br /></div><div>The highlight of all the illustrations, though, are the full-page illustrations dedicated entirely to the grotesque faces of the main characters. It is here that Dore proves himself, more even than in his cartoons for the <span class="Apple-style-span" style="font-style: italic;">Journal Pour Rire</span>, as a master of the grotesque. In no other publication does Dore pay such close attention to facial features.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SAEFiTtw1WI/AAAAAAAAAPM/8nC9n3fURtU/s1600-h/balzac222.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SAEFiTtw1WI/AAAAAAAAAPM/8nC9n3fURtU/s320/balzac222.jpg" alt="" id="BLOGGER_PHOTO_ID_5188434332673430882" border="0" /></a><br /></div><div>What interests me about the faces in the illustrations is the sheer variety. They do not appear to be constructed in as regimented a manner as most artists plan out a facial drawing (eg. Leonardo, who divides the face, however deformed, into planes). Possibly this is a side-effect of any lack of formal art training on Dore's part, but, in this instance, it has a positive effect, allowing the faces to seem at times impossibly twisted and deformed. Some of them even appear to be disintegrating before our very eyes.</div><div><br /></div><div>Here are all twelve full-page grotesque faces from Dore's Balzac illustrations.</div><div><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD9fztw1PI/AAAAAAAAAOU/0-pV25YsBlQ/s1600-h/balzac078.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD9fztw1PI/AAAAAAAAAOU/0-pV25YsBlQ/s320/balzac078.jpg" alt="" id="BLOGGER_PHOTO_ID_5188425493630735602" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD9Wztw1OI/AAAAAAAAAOM/UKffGt3zeY0/s1600-h/balzac081.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD9Wztw1OI/AAAAAAAAAOM/UKffGt3zeY0/s320/balzac081.jpg" alt="" id="BLOGGER_PHOTO_ID_5188425339011912930" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD6mztw1NI/AAAAAAAAAOE/yCY3VbWwxdg/s1600-h/balzac106.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD6mztw1NI/AAAAAAAAAOE/yCY3VbWwxdg/s320/balzac106.jpg" alt="" id="BLOGGER_PHOTO_ID_5188422315354936530" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SAPOCud779I/AAAAAAAAAPc/S3GoufhwB28/s1600-h/balzac198.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SAPOCud779I/AAAAAAAAAPc/S3GoufhwB28/s320/balzac198.jpg" alt="" id="BLOGGER_PHOTO_ID_5189217741889597394" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SAD6MTtw1MI/AAAAAAAAAN8/aVVLbriFV6E/s1600-h/balzac259.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SAD6MTtw1MI/AAAAAAAAAN8/aVVLbriFV6E/s320/balzac259.jpg" alt="" id="BLOGGER_PHOTO_ID_5188421860088403138" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD5oztw1LI/AAAAAAAAAN0/u5SzC6_RN5M/s1600-h/balzac276.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD5oztw1LI/AAAAAAAAAN0/u5SzC6_RN5M/s320/balzac276.jpg" alt="" id="BLOGGER_PHOTO_ID_5188421250203047090" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD5cztw1KI/AAAAAAAAANs/Z8exaIWQMKQ/s1600-h/balzac278.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD5cztw1KI/AAAAAAAAANs/Z8exaIWQMKQ/s320/balzac278.jpg" alt="" id="BLOGGER_PHOTO_ID_5188421044044616866" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/SAD32Dtw1JI/AAAAAAAAANk/FANm0sm-6pw/s1600-h/balzac310.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/SAD32Dtw1JI/AAAAAAAAANk/FANm0sm-6pw/s320/balzac310.jpg" alt="" id="BLOGGER_PHOTO_ID_5188419278813058194" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SAD3tTtw1II/AAAAAAAAANc/fFwTYGLuxKg/s1600-h/balzac331.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SAD3tTtw1II/AAAAAAAAANc/fFwTYGLuxKg/s320/balzac331.jpg" alt="" id="BLOGGER_PHOTO_ID_5188419128489202818" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SAD3kTtw1HI/AAAAAAAAANU/9ajPBETgNSE/s1600-h/balzac340.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SAD3kTtw1HI/AAAAAAAAANU/9ajPBETgNSE/s320/balzac340.jpg" alt="" id="BLOGGER_PHOTO_ID_5188418973870380146" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD3Zztw1GI/AAAAAAAAANM/b9jyjz5_jP8/s1600-h/balzac360.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/SAD3Zztw1GI/AAAAAAAAANM/b9jyjz5_jP8/s320/balzac360.jpg" alt="" id="BLOGGER_PHOTO_ID_5188418793481753698" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/SAD3Rjtw1FI/AAAAAAAAANE/QAIcQN71FqA/s1600-h/balzac403.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/SAD3Rjtw1FI/AAAAAAAAANE/QAIcQN71FqA/s320/balzac403.jpg" alt="" id="BLOGGER_PHOTO_ID_5188418651747832914" border="0" /></a>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com1tag:blogger.com,1999:blog-5035391127486680959.post-28068115540846879642008-04-12T05:33:00.000-07:002008-11-12T19:40:17.430-08:00The Cartoonists<div>I recently went to the opening night of <span class="Apple-style-span" style="font-style: italic;">The Cartoonists</span>, an annual show at Chris Beetles in London. Alas, there is no Gerald Scarfe and no Steve Bell, but there is Ronald Searle, Peter Brookes, Giles, Tony Husband and many others, as well as old greats H. M. Bateman and W. Heath Robinson.<br /></div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/SAC6YTtw1DI/AAAAAAAAAM0/LWbcCYAaEc4/s1600-h/cartoonists.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/SAC6YTtw1DI/AAAAAAAAAM0/LWbcCYAaEc4/s400/cartoonists.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5188351697502655538" /></a></div><div><br /></div><div>I've been a fan of Peter Brookes ever since I was eight and saw his cartoon of Margaret Thatcher as the Rabid Old Bat <span class="Apple-style-span" style="font-style: italic;">(Federalis Anathema)</span>, part of the <span class="Apple-style-span" style="font-style: italic;">Nature Notes</span> series. I wrote twice to him, sending him some of my own drawings, and he replied, encouraging me to continue drawing, and even sending me a sketch of Dan Blair (from another wonderful series of cartoons, based on <span class="Apple-style-span" style="font-style: italic;">Dan Dare</span>, with Tony Blair as Dan Dare and William Hague as the Mekon, with his enormous bald head). <span class="Apple-style-span" style="font-style: italic;">Nature Notes</span> is still going on, appearing every week in <span class="Apple-style-span" style="font-style: italic;">The Times</span> and exhibited every two years at the Chris Beetles Gallery.</div>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-12895402585919651272008-03-31T16:20:00.000-07:002009-08-03T09:51:13.257-07:00Movement and Composition in the Dore Dante IllustrationsMovement is one of the things I find the most difficult to suggest in a drawing, for the (possibly rather obvious) reason that the work is a static image. I've recently been looking at composition in Dore's illustrations, in particular for <span class="Apple-style-span" style="font-style: italic;">Dante's Inferno</span>, in an attempt to figure out how the 19th century illustrator suggested movement in images that, because of their medium and manner of depiction, were heavily detailed.<br /><br />A dissatisfaction with the engravings made from his drawings for early projects such as <span class="Apple-style-span" style="font-style: italic;">Gargantua and Pantagruel</span> and <span class="Apple-style-span" style="font-style: italic;">Contes Drolatiques</span> led Dore to train his own team of engravers. Of course, his own draughtsmanship improved over time as well. But I feel that many of his later illustrations lose some of their motion, as well as their energetic quality, precisely because they are more polished and finished than his earlier works. Despite this, several methods appear to be used in the illustrations intended to depict movement. In this post several illustrations from <span class="Apple-style-span" style="font-style: italic;">Dante's Inferno</span> will be the subject of analysis.<div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/R_F3enTx9qI/AAAAAAAAAMA/Z0h4RJ_4rMo/s1600-h/dante027.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/R_F3enTx9qI/AAAAAAAAAMA/Z0h4RJ_4rMo/s200/dante027.jpg" alt="" id="BLOGGER_PHOTO_ID_5184056013911881378" border="0" /></a></div><div><br /></div><div>The illustration seems almost to be split into two halves: the furies in the top half, and Dante and Virgil in the lower half. The two seem almost not to be completely connected, perhaps because the shape of the rock 'tower' in the background does not extend above the two poets. Only Virgil's raised hand, pointing to the furies, connects the two; the foot of the lowest fury disappears behind Virgil's hand. Perhaps in order not to draw attention to this overlap, the leg of the fury is somewhat faded, suggesting that the three flying figures to recede into the background.</div><div><br /></div><div>But how far? At first glance the furies seem to be more or less the same size as Dante and Virgil (ie human-sized), but the manner in which they fade into the background, and the extent to which Virgil's pointing arm is foreshortened, suggest that they are further back than initially was apparent - I don't think this was deliberate; as I mentioned before, this particular illustration almost seems to be two compositions stuck together rather awkwardly. To give Dore the benefit of the doubt, we could argue that this was intended to suggest the erratic movement of the flight of the furies, bobbing up and down.</div><div><br /></div><div>There is, however, a certain amount of movement here. First, the furies' bodies are tilted in one direction. Interestingly they move from right to left; it is generally thought that a composition that moves from left to right suggests faster movement, and perhaps progress (except in countries where writing moves from right to left; the two are related). Again, the decision that the Furies move in this direction may have been a conscious one, suggesting a certain amount of resistance to their clumsy, inelegant movements.</div><div><br /></div><div>Second, and perhaps the more successful element of the image at conveying movement, is the mist in the background. Wisps of smoke are parallel to the furies, as though to speed along to their movement. Dore is here more successful at suggesting the movement within the group of figures rather than their journey; the detail of the wings causes them to appear static rather than flapping, but the angle and twist of the three figures suggests their writhing movement very well. It is because of this quality that this engraving remains among my favorite of Dore's Dante illustrations.</div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/R_IRBHTx9rI/AAAAAAAAAMI/-cJl75Jj55U/s1600-h/dante046.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/R_IRBHTx9rI/AAAAAAAAAMI/-cJl75Jj55U/s200/dante046.jpg" alt="" id="BLOGGER_PHOTO_ID_5184224831896417970" border="0" /></a><br /></div><div>Note that this engraver (who has signed the illustration 'E. Sotain') has used less detail in an illustration depicting the punishment of the sorcerer, whose head is twisted around by malicious demons. Possibly for this reason, it seems to have been easier to convey movement in this composition, but there is a less finished look to the composition in comparison to many of the other illustrations in this set. Is movement therefore in expense to detail depicting texture, light and shadow? I don't know for sure, but there is undoubtedly more movement here than in the illustration of the furies.</div><div><br /></div><div>Everything in the composition, save for the rock, forming the ground and the formation on the left, is in motion. As before, there is movement in the smoke in the background, adding chaos to the scene. The twisting, undulating shape of the smoke surrounding the sorcerer suggests that it is moving in a manner suggesting writhing snakes.</div><div><br /></div><div>In the figures movement is suggested by shapes, lines and angles. The demons' forks' handles help to suggest the force applied, bowing as they lift the sorcerer, whose raised arm allows the curve of the topmost fork to be followed through into the line of his body. The twisting bodies of the demons also suggest the physical tension in the scene.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_6v42sYAPdPw/R_IaoHTx9tI/AAAAAAAAAMU/wBv408eqBEg/s1600-h/dante037.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://2.bp.blogspot.com/_6v42sYAPdPw/R_IaoHTx9tI/AAAAAAAAAMU/wBv408eqBEg/s200/dante037.jpg" alt="" id="BLOGGER_PHOTO_ID_5184235397515966162" border="0" /></a><br /></div><div>The illustration of sinners being chased by dogs through a gnarled forest is another good one for movement. Aside from the obvious factor of the running figures, I think movement is also suggested by the shape and angle of the trees; if they stood up straight, they would not complement the movement and speed of the running figures quite so well.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_6v42sYAPdPw/R_IcI3Tx9uI/AAAAAAAAAMc/Esibqt0pc30/s1600-h/dante053.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_6v42sYAPdPw/R_IcI3Tx9uI/AAAAAAAAAMc/Esibqt0pc30/s200/dante053.jpg" alt="" id="BLOGGER_PHOTO_ID_5184237059668309730" border="0" /></a></div><div><br /></div><div>The movement in this illustration is suggested not only be the twist of the figures but by their position within the composition. The light falling on the figures causes a diagonal 'strip' to be highlighted across the composition. This is framed by curves formed in the foreground (the rocks in a darker shade) and in the background (the cliff over which the snakes spill). If this image were composed only of abstract light and dark shapes I think there would still be movement because of the shape and curve of these forms.</div><div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_6v42sYAPdPw/R_IgnXTx9vI/AAAAAAAAAMk/LEnvYN9JAek/s1600-h/dante042.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://3.bp.blogspot.com/_6v42sYAPdPw/R_IgnXTx9vI/AAAAAAAAAMk/LEnvYN9JAek/s200/dante042.jpg" alt="" id="BLOGGER_PHOTO_ID_5184241981700830962" border="0" /></a><br /></div><div>In this illustration, there is still contrast between light and shadow, but it does not produce overall shapes within the composition as distinctly as the previous illustration. However, this is successful at suggesting an atmosphere of complete chaos - movement is all over the place. Areas of concentrated shadow serve to pick out a few focal points, but they do not complement the movement.</div><div><br /></div><div>Where Dore proves himself to be the most skilled is at drawing the human form; he is able to twist it into all sorts of forms to suggest force, strength and movement. It still amazes me (and very jealous) to learn that he never had any art training, and never drew from life. The theatrical manner in which many of the illustrations are lit often produces curving shapes of light and dark that complement the movement within a composition, whether sweeping, twisting or writhing.</div>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-30925281292133890702008-03-27T16:44:00.000-07:002008-11-12T19:40:18.152-08:00Some Shameless Self-Publicity...<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_6v42sYAPdPw/R-wxvHTx9pI/AAAAAAAAAL4/rVWgS6_g5xk/s1600-h/booktobook.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="http://4.bp.blogspot.com/_6v42sYAPdPw/R-wxvHTx9pI/AAAAAAAAAL4/rVWgS6_g5xk/s200/booktobook.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5182571956682225298" /></a>I forgot to mention <span class="Apple-style-span" style="font-style: italic;">From Book to Book</span>, John McDowall and Chris Taylor's exhibition in Leeds City Art Gallery that began on March 6th and continues until April 20th. The books exhibited were made in response to books themselves. My book, <span class="Apple-style-span" style="font-style: italic;">15 Uses for a Book (for dummies)</span> is one of the books on display. I'll post something about <span class="Apple-style-span" style="font-style: italic;">15 Uses</span> a little later.Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0tag:blogger.com,1999:blog-5035391127486680959.post-67218384246392104932008-03-23T03:58:00.000-07:002008-03-27T17:14:22.580-07:00HitchSir Alfred Hitchcock's appearance is almost as memorable as his films. I made several attempts to caricature Hitch in a manner reminiscent of New York caricaturist Al Hirschfeld, who always had the extraordinary ability to distill an individual into the simplest of essences, in only a few smooth, calligraphic lines. These drawings were made in late 2006/early 2007.<div><br /><div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i196.photobucket.com/albums/aa146/LukeFarookhi/My%20Artwork/hitch1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 200px;" src="http://i196.photobucket.com/albums/aa146/LukeFarookhi/My%20Artwork/hitch1.jpg" border="0" alt="" /></a></div><div><br /></div><div>The first was based on a specific photograph, and it shows. There is too much simple 'drawing' and no 'caricature'. Nor is the likeness terribly strong.</div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i196.photobucket.com/albums/aa146/LukeFarookhi/My%20Artwork/hitch2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 200px;" src="http://i196.photobucket.com/albums/aa146/LukeFarookhi/My%20Artwork/hitch2.jpg" border="0" alt="" /></a></div><div><div style="text-align: center;"><span class="Apple-style-span" style="color: rgb(0, 0, 238); text-decoration: underline;"><br /></span></div><div>The second - based on another photograph - was a bit of an improvement, but superficial parts such as the line of the hair are still the unnecessary focus (the decision to use straight lines was here a bad one, not fitting with the overall shape of the face), with too little effort to capture more than simply Hitchcock's appearance. Again, the eyes are too prominent - another failed attempt at heavy eyelids.</div><div><br /></div><div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i196.photobucket.com/albums/aa146/LukeFarookhi/My%20Artwork/hitch3.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 200px;" src="http://i196.photobucket.com/albums/aa146/LukeFarookhi/My%20Artwork/hitch3.jpg" border="0" alt="" /></a></div><div><br /></div><div>It was only with the third Hitch - which is still, I freely admit, far from perfect - that I felt I caught the 'essence' of Hitch rather than simply his appearance. Notably, this is the only one that was not based on a photograph. Not relying on a single image forced me to focus on the subject himself rather than a single representation of him. I finally managed to get the right character in the face, and, as with Hirschfeld, it turned out that the fewer lines, the better. The slightly pompous lower lip, the disdainful but lazy glance, and the haughty nostril all work best when shown in as simple a way as possible.</div></div></div></div>Luke Farookhihttp://www.blogger.com/profile/02515740301634209755noreply@blogger.com0