Götz Kluge's photos

(under work) Henry Holiday can draw ears. So, if an ear does not look like an well depicted ear, there may be a reason.

· from www.academia.edu/9964379/Schnarkverschlimmbesserung [1910]: Illustration by Henry Holiday (illustrator) and Joseph Swain (wood cutter) to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark ("corrected" by Macmillan in 1910) [1876]: Detail from an illustration by Henry and Swain to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark (1st edition, 1876) [1856]: Detail (mirror view) from The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston. “Improvement” in German is “Verbesserung”. If things get worse, a “Verschlimmerung” has happened. Jokingly (Germans sometimes can do that) we call “Verschlimmbesserung” what has been made worse after someone tried to improve it. That is what the publisher Macmillan did about 100 years ago. They removed a white spot from the illustration by Henry Holiday (illustrator) and Joseph Swain (wood cutter) to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark (1876). I found this Verschlimmbesserung in a smaller low-quality Snark edition published by Macmillan in 1910. Perhaps the publisher thought that the white spot was Joseph Swain's mistake. But would Henry Holiday and C. L. Dodgson (Lewis Carroll) have tolerated such a mistake? As these perfectionists wouldn't have accepted any bad craftsmanship, the white spot must have had a purpose:

An illustration by Gustave Doré to Balzac's "Les Contes Drolatiques" (Paris, 1855)

Detail from an illustration by Henry Holiday to Lewis Carroll's "The Hunting of the Snark"

Trial of a sow and pigs at Lavegny Source: openlibrary.org/works/OL3799645W/The_book_of_days The book of days: a miscellany of popular antiquities in connection with the calendar, including anecdote, biography, & history, curiosities of literature and oddities of human life and character. 14 editions By Robert Chambers Page 128 en.wikipedia.org/wiki/Chambers_Book_of_Days (1864) See also: en.wikipedia.org/wiki/Animal_trial Illustration from Chambers Book of Days depicting a sow and her piglets being tried for the murder of a child. The trial allegedly in Levagny took place in 1457, the mother being found guilty and the piglets acquitted. See also: www.academia.edu/10005942/The_Snark_in_your_Dreams

In all my image comparisons I tried to avoid the pareidolia trap. But here I allowed myself to "see" Edward I (or at least a crowned man) in John Martin's painting The Bard . So don't take this too serious.

Henry Holiday's illustration to the back cover of Lewis Carroll's poem The Hunting of the Snark (1876) and a mirrored, rotated and sheared detail from the rear cover illustration. I see letters, like “Anmi”. Did Henry Holiday catch me in a pareidolia trap? Am I stuck in other traps too? I don't unterstand this pattern (if it is a pattern). Perhaps it is not meant to be understood. Or it is no "meaningful" pattern at all. The pattern is clearly distinguishable from its environment. The letter-like shapes shown below the image are the result of very simple linear transformations using GIMP. Yet, I still can't say whether these are letters or just meaningless shapes. Is there any meaning? Should the "letters" be rotated and/or mirrored again? Is there a word game ("Anne I" beside a buoy) related to Anne Boleyn? (In his illustrations, Holiday clearly alluded to other historical figures related to Anne Bolyen, e.g. Queen Elizabeth I.) ---> www.academia.edu/10429829/Seing_Letters_Skulls_and_Faces

· See also: www.academia.edu/9918883/Thomas_Cranmers_42_Boxes The left and right image both are segments from prints which show the burning of Thomas Cranmer. The image in the center is a +135° rotated detail from Henry Holiday's illustration to the final chapter The Vanishing in Lewis Carroll's The Hunting of the Snark , In The annotated ... Snark , Martin Gardner wrote about Henry Holiday's illustration to the last chapter of Carroll's The Hunting of the Snark : "Thousands of readers must have glanced at this drawing without noticing (though they may have shivered with subliminal perception) the huge, almost transparent head of the Baker, abject terror on his features, as a giant beak (or is it a claw?) seizes his wrist." I think, there is neither a beak nor a claw.

To me, the Bellman 's arm (upper left corner in the right image) always looked strangely rounded. But obviously there are arms like that. It took me a long time (until today) to get the idea that also these two images could be related although I know Duchenne's photo (shown here in mirror view) since a couple of years. www.evolutionnews.org/2012/05/creepy_ghoulish059671.html "Creepy," "ghoulish," "not the best science" -- these are a few indisputable descriptions applied (by Wired magazine ) to an experiment Charles Darwin conducted in 1868. He was getting ready to write his book The Expression of the Emotions in Man and Animals and set out to sample reactions from all of 24 human subjects as they responded to and characterized a series of creepy, ghoulish photographs by French physiologist Benjamin Duchenne. Charles Darwin didn't conduct these weird experiments. Duchenne did. On the right side you see a detail from Henry Holiday's illustration to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark (1876). The only known letter exchange between C. L. Dodgson (aka Lewis Carroll) and Charles Darwin was about photos of facial expressions, which Dodgson offered to Darwin (who kindly rejected the offer).

"You will have the goodness to discharge from your minds all Post-Raphael ideas, all religious aspirations, all elevating thoughts, all tender, awful, sorrowful, ennobling, sacred, graceful, or beautiful associations, and to prepare yourselves, as befits such a subject - Pre-Raphaelly considered - for the lowest depths of what is mean, odious, repulsive, and revolting. You behold the interior of a carpenter’s shop. In the foreground of that carpenter’s shop is a hideous, wry-necked, blubbering, red-headed boy , in a bed-gown, who appears to have received a poke in the hand, from the stick of another boy with whom he has been playing in an adjacent gutter, and to be holding it up for the contemplation of a kneeling woman, so horrible in her ugliness, that (supposing it were possible for any human creature to exist for a moment with that dislocated throat) she would stand out from the rest of the company as a Monster, in the vilest cabaret in France, or the lowest ginshop in England." Charles Dickens in his journal Household Words, 1850-06-15 See also "The Myths and History of Red Hair": www.themythsandhistoryofredhair.co.uk/poetspainters.html More: www.academia.edu/10062371/Red-headed_Boys

In the top you see a detail from Henry Holiday's drawing for the illustration to the chapter The Vanishing in Lewis Carroll's The Hunting of the Snark . Based on that drawing, Joseph Swain cut the final illustration (1876). The pictorial citation style in the final wood cut seems to be a bit different from the style in Holiday's painting. Below the drawing you see a segment of Allegory to Iconoclasts (c. 1567) by Marcus Gheeraerts the Elder. I did this comparison in 2009 and almost forgot it.

[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.

I posted this as a 4758 x 3102 image earlier, but this one is much bigger: 8000x5200. It is an enlargement of the vectorized version of the earlier image. This ship played an important role in the history of science . Its probably most well known passanger was Charles Darwin. However, the Bellman carrying the Banker from Lewis Carroll's and Henry Holiday's "Hunting of the Snark" sneaked into the image. The print is based on a drawing by Conrad Martens , etching published in: Francis Darwin, Life and Letters of Charles Darwin , p. 160, 1888. Conrad Martens' drawing has been engraved by Thomas Landseer and published in the year 1838 by H. Colburn in The Narrative of the Surveying Voyages of HMS Adventure and Beagle . Date: 1834-04-16 Location: Tierra del Fuego, Santa Cruz river, 50.1125°S and 68.3917°W maps.google.co.uk/maps?f=q&hl=en&geocode=&q=5... That is the position calculated by Captain Robert FitzRoy (who had no GPS). The error was small. The drawing shows that the site must have been a river bank (50.13°S, 68.39°W?) near the calculated position. See also: darwin-online.org.uk/content/frameset?itemID=F10.2&vi... thebeagleproject.blogspot.com/2009/04/keel-overhauled-175... beagleproject.wordpress.com/2012/09/03/two-feet-from-sink... commons.wikimedia.org: commons.wikimedia.org/wiki/File:TheBeagleLaidAshore.png

See also: www.academia.edu/9964379/Schnarkverschlimmbesserung In a 1910 edition of The Hunting of the Snark , an alledged error, which is not an error, had been removed. However, the removed white spot had a reason, as you see in the inset. The inset shows a segment from a 1876 edition with the white spot and a segment from The Bone Player (1856) by William Sidney Mount with a white spot (depicting a reflection from a glass). [left]: Segment from an Illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark (1876). [right, mirror view]: The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston.

In a 1910 edition of The Hunting of the Snark , an alledged error, which is not an error, had been removed. However, the removed white spot had a reason, as you see in the inset. The inset shows a segment from a 1876 edition with the white spot and a segment from The Bone Player (1856) by William Sidney Mount with a white spot (depicting a reflection from a glass).

Segment from an illustration by Henry Holiday (engraver: Joseph Swain) to Lewis Carroll's "The Hunting of the Snark". Publisher: MACMILLAN AND CO. left: 1876 R. CLAY, SONS, AND TAYLOR, PRINTERS Signature: SWAIN S.C. (scaled down to the size of the miniature edition) right: 1910, 2nd Miniature Edition R. CLAY AND SONS, LIMITED Signature: SWAIN S.C. I don't see significant differences and assume, that the 1910 image is a reworked photographic reproduction of the 1876 image.

CC BY-NC-ND 3.0 version of www.ipernity.com/doc/goetzkluge/36251988

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". I flipped it back. 2011-12-12 2014-02-22 As for the image on the top of this page: [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. CC BY-NC-ND 3.0 Version, 2000x2000: www.ipernity.com/doc/goetzkluge/36260048