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Segment from a panel of the Isenheim Altarpiece, Matthias Grünewald‘s The Temptation of St. Anthony (c. 1512-1516)

I rendered that segment twice. In the right copy I blurred a part of that segment and removed all colors. More: http://snrk.de/page_face-it

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http://blog.snrk.de

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http://blog.snrk.de/thomas-cranmer

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2015 was a not so funny Boojum year.

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(via https://www.youtube.com/watch?v=QPbxwCtwZww)

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Happy Easter!

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http://blog.snrk.de/the-image-breakers

513 · · He was black in the face, and they scarcely could trace 514 · · · · The least likeness to what he had been: 515 · · While so great was his fright that his waistcoat turned white- 516 · · · · A wonderful thing to be seen! This is probably one of the strongest examples for resemblances between graphical elements in Henry Holiday’s illustrations (1876, cut by Joseph Swain) and graphical elements in another image. Sometimes Holiday mirrored his pictorial quotes: Here Holiday vertically flipped the nose of Gheeraert’s “head”. [left]: The Banker after his encounter with the Bandersnatch, depicted in Henry Holiday’s illustration (woodcut by Joseph Swain for block printing) to the chapter “The Banker’s Fate” in Lewis Carroll’s “The Hunting of the Snark” (scanned from an 1876 edition of the book) [right]: a redrawn and horizontally compressed and reproduction of “The Image Breakers” (1566-1568) aka “Allegory of Iconoclasm”, an etching by Marcus Gheeraerts the Elder (British Museum, Dept. of Print and Drawings, 1933.1.1..3, see also Edward Hodnett: Marcus Gheeraerts the Elder, Utrecht 1971, pp. 25-29). Also I flipped the “nose” vertically.

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Illustrations by Edward Lear and Henry Holiday

http://www.ipernity.com/doc/goetzkluge/35432309

There was an old man of Port Grigor, Whose actions were noted for vigour; He stood on his head till his waistcoat turned red, That eclectic old man of Port Grigor. (Edward Lear, 1872)

http://www.ipernity.com/doc/goetzkluge/23381105

He was black in the face, and they scarcely could trace The least likeness to what he had been: While so great was his fright that his waistcoat turned white - A wonderful thing to be seen! (Lewis Carroll, from "The Hunting of the Snark", 1876)

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Snark overview: http://blog.snrk.de/gallery

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I think that Henry Holiday had quite some fun in imagining how the beholders of his illustrations to Lewis Carroll's "The Hunting of the Snark" (1876) would deal with what they might see. And they cannot hold him responsible for what they see. More: http://blog.snrk.de/page_the-bard#cheeky

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Inspiration by Reinterpretation

Henry Holiday reinterprets Marcus Gheeraerts II in The Hunting of the Snark [left]: Marcus Gheeraerts the Younger: Catherine Killigrew, Lady Jermyn (1614) [right]: Marcus Gheeraerts the Younger: Mary Throckmorton, Lady Scudamore (1615) [center]: Henry Holiday: Segment of an illustration to Lewis Carroll's The Hunting of the Snark (1876) · · 057 · · He came as a Butcher: but gravely declared, · · 058 · · · · When the ship had been sailing a week, · · 059 · · He could only kill Beavers. The Bellman looked scared, · · 060 · · · · And was almost too frightened to speak: · · 285 · · But the Butcher turned nervous, and dressed himself fine, · · 286 · · · · With yellow kid gloves and a ruff-- · · 287 · · Said he felt it exactly like going to dine, · · 288 · · · · Which the Bellman declared was all "stuff." · · 409 · · Such friends, as the Beaver and Butcher became, · · 410 · · · · Have seldom if ever been known; · · 411 · · In winter or summer, 'twas always the same-- · · 412 · · · · You could never meet either alone.

See also: http://blog.snrk.de/page_inspiration-by-re-interpretation

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Cooling down in Taipei

In September 2014 my wife and I visited Taiwan for three weeks. It was unusually hot and humid. During that time, our friend Elizabeth Chen-Ming from Munich was there too. She spotted a worker, who found a solution to cope with the heat.

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Squirrel being fed by a marionette of an old lady being controlled by an old lady. My life is complete   

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

http://www.ipernity.com/doc/goetzkluge/29568429

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http://www.ipernity.com/doc/goetzkluge/19554767/

[top]: John Everett Millais: Christ in the House of His Parents aka The Carpenter's Shop (1850). Location: Tate Britain (N03584), London. Literature: * Deborah Mary Kerr (1986): John Everett Millais's Christ in the house of his parents (circle.ubc.ca/handle/2429/26546) p.34 in (01) Éva Péteri (2003): Victorian Approaches to Religion as Reflected in the Art of the Pre-Raphaelites, Budapest 2003, ISBN 978-9630580380 (shortlink: www.snrk.de/EvaPeteri.htm) * Albert Boime (2008): Art in an Age of Civil Struggle, 1848-1871 p. 225-364: The Pre-Raphaelites and the 1848 Revolution (en.wikipedia.org/wiki/Special:BookSources/0226063283) [middle]: Anonymous: Edward VI and the Pope, An Allegory of Reformation, mirrored view (16th century, NPG 4165). Iconoclasm depicted in the window. Under the "window" 3rd from left is Thomas Cranmer who wrote the 42 Articles in 1552. Edward VI and the Pope (NPG 4165) was, until 1874, the property of Thomas Green, Esq., of Ipswich and Upper Wimpole Street, a collection 'Formed by himself and his Family during the last Century and early Part of the present Century' (Roy C. Strong: Tudor and Jacobean Portraits, 1969, p.345). Thus, when Millais' Christ in the House of His Parents ('The Carpenter's Shop') was painted in 1849-1850, the 16th century painting was part of a private collection. It was sold by Christie's 20 March 1874 (lot 9) to a buyer unknown to me, that is, when Holiday started with his illustrations to The Hunting of the Snark. Location: National Portrait Gallery, London [bottom]: Philip Galle after Maarten van Heemskerck, Redrawn print Ahasuerus consulting the records (1564). The resemblance to the image above (middle) was shown by Dr. Margaret Aston in 1994 in The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (p. 68). She also compared the bedpost to Heemskerck's Esther Crowned by Ahasuerus. Location: Rijksmuseum, Amsterdam

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[main image]: John Martin: The Bard (ca. 1817), by GIMP: contrast enhanced in the rock area & light areas delated & (most of) color removed & Retinex filtering [inset]: Henry Holiday: Illustration (1876) to chapter The Beaver's Lesson in Lewis Carroll's The Hunting of the Snark, detail

More: http://www.ipernity.com/doc/goetzkluge/28406447