Schnarkverschlimmbesserung
Nose is a Nose is a Nose
The Flaw was no Flaw
The removed "error" had a purpose
Heads by Henry Holiday and Marcus Gheeraerts the E…
Darwins snarked Study
Paradise Lost and the Beaver's Lesson
Ceci n'est pas une cloche
So great was his fright that his waistcoat turned…
IT WAS A BOOJUM (bw)
Ditchley Snark
Ditchley Snark
IT WAS A BOOJUM
The Bandersnatch fled as the others appeared
The Hunting Of The Snark
A Nose Job
The Hunting of the Snark
Dream Snarks
Carroll's Barrister's Dream
Two Noses
Holidays Boojum
J. J. Grandville's Monsters
Nosemorph
The Boojum sitting on some of the 42 boxes
Holiday and Gheeraerts I
Priest in the Mouth
Snark Hunt: Square One
The Snark in your Dreams
Neuman, Butcher, Jowett
The Butcher and Benjamin Jowett
Tree of Life
Inspiration by Reinterpretation
Anne Hale Mrs. Hoskins
Anne Hale Mrs. Hoskins
With yellow kid gloves and a ruff
An Expedition Team
Holiday and Gheeraerts I
The Billiard marker
The Uncle over Darwin's Fireplace
Monster Nose
The Broker's and the Monk's Nose (with a little he…
Holiday - Millais - Anonymous - Galle; detail
The Butcher & the young Raleigh (details)
Thomas Cranmer's Burning
Wood Shavings turned Pope (1st version)
Darwin's Fireplace and the Baker's Dear Uncle
Henry George Liddell in "The Hunting of the Snark"
Snarked: Henry George Liddell
Holiday - Millais- Anonymous - Galle, detail
6 Sources to the Beaver's Lesson
The Baker's 42 Boxes
Weeds turned Horses (2)
From Doré's Root to Holiday's Rat
42 Boxes meet the Iconoclasts
Thumb & Lappet
Bonnet Head
Billiard-Marker & Henry George Liddell
Hidden Carrol
A little Zoo in Charles Darwin's Study
Star and Tail
William III, Religion and Liberty, Care and Hope
Darwin's Study and the Baker's Uncle
Kerchiefs and other shapes
Holiday - Millais - Anonymous - Galle
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Mary's and the Baker's Kerchiefs
[left]: Redrawn segment from one of Henry Holiday's pencil drafts for the depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark. Below the draft you see a segment of the final – and less daring – illustration.
[right]: John Everett Millais: Redrawn Segment from Christ in the House of His Parents (1850) depicting Mary (and a part of Christ's face in the upper right corner). Below that segment you see a larger segment from Millais' painting.
This example shows how Holiday worked on the construction of his conundrums in his illustrations to Lewis Carroll's The Hunting of the Snark. Even though Holiday copied a face from a face, he reinterprated shapes of face elements from the source face in order to represent different face elements with a resembling shape in the target face. The baker's ear is based on a shape in the depiction of Marie's face which is no ear. The same partially applies to the Baker's nose and the baker's eye.
Such kind of pictorial obfuscation should not be a surprise as The Hunting of the Snark is a poem in which readers had been searching textual allusions since 1876. (Too obvuous allusions are too boring.) The focus on textual analysis of the Snark seems to lead us to underestimate Holiday's paralleling Carroll's wordplay with is own means as an graphical artist.
[right]: John Everett Millais: Redrawn Segment from Christ in the House of His Parents (1850) depicting Mary (and a part of Christ's face in the upper right corner). Below that segment you see a larger segment from Millais' painting.
This example shows how Holiday worked on the construction of his conundrums in his illustrations to Lewis Carroll's The Hunting of the Snark. Even though Holiday copied a face from a face, he reinterprated shapes of face elements from the source face in order to represent different face elements with a resembling shape in the target face. The baker's ear is based on a shape in the depiction of Marie's face which is no ear. The same partially applies to the Baker's nose and the baker's eye.
Such kind of pictorial obfuscation should not be a surprise as The Hunting of the Snark is a poem in which readers had been searching textual allusions since 1876. (Too obvuous allusions are too boring.) The focus on textual analysis of the Snark seems to lead us to underestimate Holiday's paralleling Carroll's wordplay with is own means as an graphical artist.
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