The Expression of Emotions
Thomas Cranmer's Burning
Trial of a sow and pigs at Lavegny (1457)
Pig Band
Schnarkverschlimmbesserung
Ear & Embryo
h70 - The Banker's Fate
h30 - The Baker's Uncle
h50 - Beavers Lesson
h80 - The Vanishing
h60 - Snark Court
h10 - The Landing
h11 - The Snark Hunting Party
h20 - BellmansMap
h12 - Butcher and Beaver
Surrounded by Monsters
The Vanishing & Thomas Cranmer's Burning
Anthropomorphic Landscapes
Thomas Cranmer's Boojum (with inset)
Faiths Victorie in Romes Crueltie
Thomas Cranmer's Boojum
The Baker's 42 Boxes and Iconoclasm
The Baker's uncle Yoda's relative is
Beagle Laid Ashore & Snarked
Uncle's Blanket
Heads by Henry Holiday and Marcus Gheeraerts the E…
Ear & Embryo
Recycled Bellman Draft
Darwin's snarked Study
Henry Holiday's Snark Hunt on Bēhance
Carroll's Barrister's Dream
Easter Greeting
Grünewald and Holiday
Fun with Allusions
Snarking or Gnashing
The Banker and The Bonnetmaker
John Martin's Bard and Henry Holiday's Snark Illus…
John Martin' s "The Bard" prepared for analysis
About my Snark hunt
Eagle and Star
Darwins snarked Study
Ceci n'est pas une cloche
The Hunting Of The Snark
The Uncle over Darwin's Fireplace
Dream Snarks
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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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