The Expression of Emotions
Thomas Cranmer's Burning
Seeing Letters, Skulls and Faces
Pig Band
Schnarkverschlimmbesserung
h50 - Beavers Lesson
h80 - The Vanishing
h30 - The Baker's Uncle
h70 - The Banker's Fate
h60 - Snark Court
h10 - The Landing
h11 - The Snark Hunting Party
John William Colenso
h20 - BellmansMap
Surrounded by Monsters
Thomas Cranmer's Boojum (with inset)
Thomas Cranmer's Boojum
The Vanishing of Thomas Cranmer
«L.C. forgot that "the Snark" is a tragedy and [sh…
The Baker's 42 Boxes and Iconoclasm
The Baker's uncle Yoda's relative is
Carroll on the Rocks
Nose is a Nose is a Nose
Burning the Baker
Beagle Laid Ashore & Snarked
The Flaw was no Flaw
The removed "error" had a purpose
Heads by Henry Holiday and Marcus Gheeraerts the E…
Recycled Bellman Draft
Henry Holiday's Snark Hunt on Bēhance
Easter Greeting
Grünewald and Holiday
Fun with Allusions
The Banker and The Bonnetmaker
John Martin's Bard and Henry Holiday's Snark Illus…
About my Snark hunt
Darwins snarked Study
Paradise Lost and the Beaver's Lesson
Ceci n'est pas une cloche
Dream Snarks
Carroll's Barrister's Dream
The Billiard Marker & Henry George Liddell
Snarked Workplace
The Billiard marker
White Spot
Herbs & Horses
IT WAS A BOOJUM
Again: What I tell you three times is true!
Two Bone Players
The Bankers Fate
So great was his fright that his waistcoat turned…
Two Noses
The Uncle over Darwin's Fireplace
The Monster in the Branches
Monster Nose
The Broker's and the Monk's Nose (with a little he…
The Broker's and the Monk's Nose
jub jub jub jub jub jub jub jub jub jub jub jub ..…
Holiday - Millais - Anonymous - Galle; detail
Bellman & Bard after retinex filtering
Where do Boojums live?
Bellman & Bard after retinex filtering
Bellman & Bard
Bellman & Bard
The Butcher & the young Raleigh (details)
Bellmen on the Rocks
Adriano Orefice: La cerca dello Squallo
The Bellman and Charles Darwin
The Vanishing and the Gneiss Rock
Henry Holiday & John Martin
Nosemorph
Thomas Cranmer's Burning
Lacing Pillow
TruthProof
The Boojum sitting on some of the 42 boxes
IT WAS A BOOJUM (bw)
The Bellman and Sir Henry Lee (no marks)
Darwin's Fireplace and the Baker's Dear Uncle
Henry George Liddell in "The Hunting of the Snark"
Snarked: Henry George Liddell
Bankersnatched by the Bandersnatch
Holiday - Millais- Anonymous - Galle, detail
6 Sources to the Beaver's Lesson
Holiday and Gheeraerts I
The Baker's 42 Boxes
Weeds turned Horses (2)
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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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