Götz Kluge's photos

Two details: [left]: Depiction of the Butcher in an illustration by Henry Holiday to the 5th fit in Lewis Carroll's The Hunting of the Snark (1876) [right]: The Boyhood of Raleigh by J. E. Millais (1869) The comparison is based on Louise Schweitzer 's assumption in One Wild Flower (2012, page 223): "But perhaps Holiday's ruff - and the pose of the Fit Five drawing - was inspired by the Elizabethan drama inherent in Millais' Boyhood of Raleigh , (1869)." (As for the young Raleigh, a son of Millais was the model for the boy.)

001 · · “Just the place for a Snark!” the Bellman cried, 002 · · · · As he landed his crew with care; 003 · · Supporting each man on the top of the tide 004 · · · · By a finger entwined in his hair. Whose hair? Source images: from Henry Holiday's illustrations to Lewis Carroll's The Hunting of the Snark Some quotes: "Nothing in the world requires more courage than to applaud the destruction of values we still cherish. If a work of art or a new style disturbs you, then it is probably good work. If you hate it, it is probably great." Leo Steinberg "We have neglected the gift of comprehending things through our senses. Concept is divorced from percept, and thought moves among abstractions. Our eyes have been reduced to instruments with which to identify and to measure; hence we suffer a paucity of ideas that can be expressed in images and in an incapacity to discover meaning in what we see. Naturally we feel lost in the presence of objects that make sense only to undeluted vision, and we seek refuge in the more familiar medium of words. ... The inborn capacity to understand through the eyes has been put to sleep and must be reawakened." Rudolf Arnheim: Art and Visual Perception , 1974, p. 1 "To Paint is Not to Affirm." Michel Foucault. This is Not a Pipe , Chapter 6, 1968 "An anti-subject painting might effectly conceal its subject, hiding it from everyone except the painter; or it might tease viewers with clues; or it might be so arcane that few people can see its subject: What counts is the retreat from the obvious, unambiguous primary meaning." James Elkins (The School of the Art Institute of Chicago): Why are our Pictures Puzzles? , p. 129, 1999 (see also book review) "To say it fully, a cryptomorph is an image that is hidden at its making, remains invisible for some period, and then is revealed so that it becomes an image that once was hidden (and the can no longer be hidden again)." James Elkins ..., p. 184 "The act of revealing fully hidden cryptomorphs is an act of terrorism against pictorial sense." James Elkins ..., p. 203 "During my stay [in Ruby School] I made I suppose some progress in learning of various kinds, but none of it was done with love, and I spent an incalculable time in writing out impositions - this last I consider one of the chief faults of Rugby School. I made some friends there ... but I cannot say that I look back upon my life at a Public School with any sensations of pleasure, or that any earthly considerations would induce me to go through my three years [actually almost four years: January 1846 ~ December 1849] again." Quoted by M. N. Cohen, Lewis Carroll : A biography (London, 1995). "Each little boy has his own wooden cubicle to sleep in at night, a snug little bedroom where he is free from interruption and annoyance, this, to little boys, must be a great addition to their happiness, as being a counterbalance to any bullying they may suffer during the day. From my own experience of school life at Rugby, I can say that if I could have been as secure from annoyance at night, the hardships of the daily life would have been mere trifles." C. L.Dodgson's diary entry after a visit to Radley College , 1857-03-18 (Quote from Insights into Human Cruelty and Abuse by Colleen Swan, 2014-03-04) "It is possible that the author was half-consciously laying a trap, so readily did he take to the inventing of puzzles and things enigmatic; but to those who knew the man, or who have devined him correctly through his writings, the explanation is fairly simple." Henry Holiday (1898-01-29) on Lewis Carroll's The Hunting of the Snark "Only those questions that are in principle undecidable, we can decide." Heinz von Foerster: Ethics and Second-Order Cybernetics , 1990-10-04 (Système et thérapie familiale, Paris) "Honi soit qui mal y pense" See also: www.academia.edu/9907524/The_Art_of_Deniability

This is how Henry Holiday may have looked like a few years before he illustrated The Hunting of the Snark .

William Blake's "The Omnipotent" or " The Ancient of Days " (1794) after a major sneezing episode. --> new version (2015): www.ipernity.com/doc/goetzkluge/37946780

Watch those fingers: The photo has been "photoshopped" (by Henry Holiday or Juseph Swain?) before I worked on it using GIMP. The image shows Henry Holiday and segments of one of Henry Holiday's illustrations (cut by Joseph Swain) to Lewis Carroll's The Hunting of the Snark . The Segments show the Bonnetmaker and a bonnet. Perhaps the photo is a portrait by Joseph Swain or a self portrait by Henry Holiday, made quite a few years after the Snark was published. Watch Holiday's tinkering (a "Victorian craze" ?) with the little finger and the thumb of his left hand. About the Bonnetmaker: I've never heard this suggested, but I have always wondered if Carroll was using "Boots" as a portmanteau of "Bonnets and Hoods," and if he using "Boots" to MEAN the Maker of Bonnets and Hoods. You will note that no Boots ever appears in any picture, but the maker of Bonnets does. Also, "Maker of Bonnets" doesn't really begin with B. Carlo 20:17, 12 October 2007 (UTC) The Wikipedia author Carlo Fortunato (Cfortunato) reckoned that Boots also could be a portmanteau for the maker of B onnets and H oods . There may be hints in Carroll's poem too: [...] The Bellman, who was almost morbidly sensitive about appearances, used to have the bow sprit unshipped once or twice a week to be revarnished, and it more than once happened, when the time came for replacing it, that no one on board could remember which end of the ship it belonged to. [...] The helm sman (This office was usually undertaken by the Boots , who found in it a refuge from the Baker’s constant complaints about the insufficient blacking of his three pairs of boots) used to stand by with tears in his eyes; he knew it was all wrong, but alas! Rule 42 of the Code, “No one shall speak to the Man at the Helm,” had been completed by the Bellman himself with the words “and the Man at the Helm shall speak to no one.“ [...] The helmsman usually was the Boots. To me, the relation between the Boots and the Bellman looks like how the work relation between Carroll and Holiday could have looked like, self-mockingly described by Carroll. Moreover, Holiday's depiction of the maker of Bonnets and Hoods, who could be the Boots als well, could be a selfportrait. 009 · · The crew was complete: it included a Boots — 010 · · · · A maker of B onnets and H oods — 011 · · A Barrister, brought to arrange their disputes— 012 · · · · And a Broker, to value their goods. 281 · · The maker of Bonnets ferociously planned 282 · · · · A novel arrangement of bows : 283 · · While the Billiard-marker with quivering hand 284 · · · · Was chalking the tip of his nose. It is common understanding that among the Snark hunting crew, only the Boots has not been depicted in Henry Holiday's illustrations. However, if "Boots" is a shortname for "maker of Bonnets and Hoods", then all crew menbers are in the picture.

1876 and around 1870. If it was for this pairing only, I would not use this side-by-side image as an example for allusions to Charles Darwin (19th century portrait) in Lewis Carroll's and Henry Holiday's The Hunting of the Snark . Also, too obvious allusions to Darwin would have narrowed the interpretation space which Carroll wanted to leave to his readers. However, there is more . Darwin portrait found in What Mr Darwin Saw in His Voyage Round the World in the Ship ‘Beagle’ , 1879. »Extracts paraphrased by W.P. Garrison from Darwin’s Beagle diaries. Son of a US abolitionist, W.P. Garrison published this work anonymously. His stated aim was to 'interest children in the study of natural history, and physical and political geography'. Garrison selected extracts from Darwin's original diaries, reorganising material thematically into four parts: 'Animals', 'Man' (strange peoples and customs, particularly of savage and barbarous life), 'Geography' (physical features of the countries visited by Mr Darwin) and 'Nature' (account of the grandeur of terrestrial processes).« Source: University of Cambridge > Department of History and Philosophy of Science > Whipple Library > Rare book collections > Online exhibitions

Il Covile, anno XII NO690, 2012-03-29, ISSN 2279-6924 www.ilcovile.it/scritti/COVILE_690_Snark.pdf (or pg. 101 in www.ilcovile.it/raccolte/RACCOLTA_COVILE__3_Fine_e_popolare.pdf ) Translation of Lewis Carroll's "The Hunting of the Snark, 16 pages: LEWIS CARROLL LA CERCA DELLO SQUALLO THE HUNTING OF THE SNARK NELLA TRADUZIONE DI ADRIANO OREFICE In the preface to the introduction to his Snark translation, Adriano Orefice (whose main business is quantum physics ) associated the Snark hunt with research and Charles Darwin's Beagle voyage . Since 1982, Prof. Orefice's translation hibernated in some drawer until Raffaele Giovanelli (same business) found it 30 years later.

¤ Johannes Vermeer: The Lacemaker (1669-1671) ¤ Salvatore Dalí: "paranoiac critical" allusion to Vermeer's The Lacemaker (1958); mirror view. In 1955, Dalí made a copy of Veermer's work as well as a "rhinocerotic" version and a another "paranoiac critical" version. In September 2013, artwork from Dalí had been exhibited in the Künstlerhaus in Munich . The exhibits belong to the collection of Richard H. Mayer (Kunstgalerie Böttingerhaus Bamberg) . Among the objects also was one of the prints made in 1958. Interestingly, no hint was given that mirroring Dalí's print could help to understand the allusion. Once rendered in mirror view (as shown above on the right side), Dalí's print is not so abstract anymore.

B/W image: [left]: Henry Holiday: From Illustration (1876) to chapter The Beaver's Lesson in Lewis Carroll's The Hunting of the Snark [right, mirror view]: John Martin: Detail in mirrow view from The Bard (ca. 1817), now in the Yale Center for British Art Color image: John Martin: The Bard (detail)

[top]: Detail from the etching (1566-1568) The Image Breakers by Marcus Gheeraerts the Elder. [bottom]: Detail from the illustration (1876) by Henry Holiday to The Hunting of the Snark . Lewis Carroll (C. L. Dodgson) did not want Henry Holiday to depict the Snark in the illustrations to The Hunting of the Snark . But Holiday was allowed to let it appear veiled by its "gown, bands, and wig" in The Barrister's Dream . Low resolution version of the image shown below made in order to compare the images without looking at details.

The lower image is the only Snark illustration by Henry Holiday which shows the Snark . However, in this case the beast appeared in The Barrister's dream . Therefore it is just a Dream Snark . [top]: Detail from the etching (1566-1568) The Image Breakers by Marcus Gheeraerts the Elder. [bottom]: Detail from the illustration (1876) by Henry Holiday to The Hunting of the Snark . Lewis Carroll (C. L. Dodgson) did not want Henry Holiday to depict the Snark in the illustrations to The Hunting of the Snark . But Holiday was allowed to let it appear veiled by its "gown, bands, and wig" in The Barrister's Dream . Also in this case, Holiday pictorially alluded to the etching by Marcus Gheeraerts the Elder. In this comparison several shapes - see notes (1) to (5) - provide the beholder of the illustration with pictorial quotes which point to that etching. This is just the place to repeat a textual quote which I like a lot: "We have neglected the gift of comprehending things through our senses. Concept is divorced from percept, and thought moves among abstractions. Our eyes have been reduced to instruments with which to identify and to measure; hence we suffer a paucity of ideas that can be expressed in images and in an incapacity to discover meaning in what we see. Naturally we feel lost in the presence of objects that make sense only to undeluted vision, and we seek refuge in the more familiar medium of words. ... The inborn capacity to understand through the eyes has been put to sleep and must be reawakened." (Rudolf Arnheim: Art and Visual Perception, 1974, p. 1) Images like this could be used in class by arts teachers to reawaken that inborn capacity. This also is a training to make and discuss decisions based on incomplete information. Am I wrong? Am I right? "Only those questions that are in principle undecidable, we can decide." (Heinz von Foerster: Ethics and Second-Order Cybernetics, 1990-10-04, Système et thérapie familiale, Paris) · 2014-05-19

(vectorized from low resolution print)

Screenshot

early morning

A breathing building in Hongkong, 2002

Screen background tile for wallpapers. See also www.collembola.org/doc/art.htm Copyright: Goetz Kluge (me) & Anly Yao (my wife)

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