Götz Kluge's photos with the keyword: paranoiac-critical method

[top]: Detail from the etching (1566-1568) The Image Breakers by Marcus Gheeraerts the Elder. [center]: Detail from the illustration (1876) by Henry Holiday to The Hunting of the Snark . 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 . [bottom]: Redrawn image from a concept draft by C. L. Dodgson (aka Lewis Carroll). The original drawing was part of a lot consisting of an 1876 edition of The Hunting of the Snark and a letter (dated 1876-01-04) by Dodgson to Henry Holiday. The lot was auctioned by Doyle New York (Rare Books, Autographs & Photographs - Sale 13BP04 - Lot 553) offered in November 2013. The whole lot was sold for US$ 25000. ( www.doylenewyork.com/asp/fullcatalogue.asp?salelot=13BP04+++553+&refno=++953647&image=2 ) · This shows: First C. L. Dodgson defined the concept [bottom], then Henry Holiday did the artwork (including the allusions to Gheeraert's "head" [top]) and finally Joseph Swain cut the illustration [center] into a woodblock.

[left]: Henry Holiday: The Vanishing (detail from lower left side) Illustration to Lewis Carroll's "The Hunting of the Snark" (1876) [right]: John Martin: The Bard (retinex filtered and vectorized detail from lower left side) commons.wikimedia.org/wiki/File:John_Martin_-_The_Bard_-_Google_Art_Project.jpg (ca. 1817)

2014-01-26: I like this allusion by Henry Holiday in one of his illustrations to Lewis Carroll's The Hunting of the Snark to a little detail in John Martin's The Bard so much, that I made yet another assemblage. Color image: John Martin: The Bard , now in the Yale Center for British Art Large black&white inlay: [left]: John Martin: Detail from The Bard (ca. 1817) [right, mirror view]: Henry Holiday: From Illustration (1876) to chapter The Beaver's Lesson in Lewis Carroll's The Hunting of the Snark I assume, that Holiday used allusions in order to construct conundrums. However, alluding to works of other artists also helps to draw inspiration in a quick and efficient manner. See also p. 3 in www.academia.edu/9923718/Henry_Holidays_Monsterspotting

Color image: John Martin: lower segment of The Bard , now in the Yale Center for British Art Large black&white inlay: [left]: John Martin: Detail from The Bard (ca. 1817) [right, mirror view]: Henry Holiday: From Illustration (1876) to chapter The Beaver's Lesson in Lewis Carroll's The Hunting of the Snark

#1, left - (allusion to the bedpost #3): 1876, Henry Holiday (engraver: Joseph Swain): The illustration detail on the very left side is a vectorized scan from Holiday's illustration to an 1910 edition of Lewis Carroll's The Hunting of the Snark . #1, right: Additionally you see a segment from Holiday's preperatory draft. #2 - (allusion to the bedpost #3 and to Philip Galle's print #4): 1850, the young John the Baptist in John Everett Millais : Christ in the House of His Parents (aka The Carpenter's Shop ). The left leg of the boy looks a bit deformed. This is no mistake. Probably Millais referred to #3 and to #4. #3 - (Henry VIII's bedpost): 16th century, anonymous: Redrawn segment of Edward VI and the Pope, An Allegory of Reformation , (mirror view). #4 - (bedpost #3 alludes to bedpost #4): 1564, Redrawn segment of a print Ahasuerus consulting the records by Philip Galle after Maarten van Heemskerck. The resemblance of #4 to the image #3 (the bedpost) was shown by the late Dr. Margaret Aston in 1994 in The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (p. 68). She also compared the bedpost to Heemskerck's Esther Crowned by Ahasuerus .

The Hunting of the Snark (1876) has been written by Lewis Carroll and illustrated by Henry Holiday. The Image shows Henry Holiday's illustrations to the front cover and the back cover of the book and paintings depicting Queen Elizabeth I. There are many more pictorial allusions in Henry Holiday's Snark illustrations.

The Hunting of the Snark (1876) has been written by Lewis Carroll and illustrated by Henry Holiday. The Image shows Henry Holiday's illustrations to the front cover and the back cover of the book and paintings depicting Queen Elizabeth I, to which Henry Holyday may have alluded. There are many more pictorial allusions in Henry Holiday's Snark illustrations.

Ceci n'est pas un cigare. Hendry Holiday was an underestimated artist. In Lewis Carroll's The Hunting of the Snark , Holiday made sure that it is you who will be hold responsible for your perceptions. Both, Holiday and Carroll/Dodgson, were masters of the art of deniability. They applied the " paranoiac-critical method " a few years before Dalí invented it to pull our legs. Holiday's illustration to the last Snark chapter: See also: www.academia.edu/9907524/The_Art_of_Deniability

[top left]: Detail of an illustration by Henry Holiday to Lewis Carroll's "The Hunting of the Snark" (1876) [top right]: Mirror view of a horizontally compressed detail from John Martin's "The Bard" (ca. 1817, see red and green marks below) [bottom left]: M.C. Escher: Cimino Barbarano, 1929 (middle segment, redrawn from original, horizontally compressed) See also: www.mcescher.com/Gallery/ital-bmp/LW129.jpg [bottom right]: John Martin: The Bard ca. 1817 (Color desaturated segment) Original painting: Yale Center for British Art, Paul Mellon Collection collections.britishart.yale.edu/vufind/Record/1671616 M. C. Escher took the whole concept of John Martin's The Bard . Henry Holiday in most cases quoted different elements (shapes) in his source images and often gave those elements a completely new meaning. (In one case the shapes even were the cracks in the varnish of a source image.) === John Martin: The Bard === Yale Center for British Art: "Based on a Thomas Gray poem, inspired by a Welsh tradition that said that Edward I had put to death any bards he found, to extinguish Welsh culture; the poem depicts the escape of a single bard. Escher turned that landscape into am Italian scenery." In mydailyartdisplay.wordpress.com/the-bard-by-john-martin , "Jonathan" connects the painting to the poem The Bard written by by Thomas Gray in 1755: · · ... · · On a rock, whose haughty brow · · Frowns o'er cold Conway's foaming flood, · · Robed in the sable garb of woe · · With haggard eyes the Poet stood; · · ... · · "Enough for me: with joy I see · · The diff'rent doom our fates assign. · · Be thine Despair and sceptred Care; · · To triumph and to die are mine." · · He spoke, and headlong from the mountain's height · · Deep in the roaring tide he plunged to endless night. · · ... The poem and the painting may have been an inspiration to Lewis Carroll and Henry Holiday in The Hunting of the Snark: · · 545 · · Erect and sublime, for one moment of time. · · 546· · · · In the next, that wild figure they saw · · 547· · (As if stung by a spasm) plunge into a chasm, · · 548· · · · While they waited and listened in awe.

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)

The comparison shows (left side) a reproduction of Henry Holiday's draft of the Billiard marker for an illustration to Lewis Carroll's The Hunting of the Snark (1876) and a redrawn detail (right side) from a portrait by George Cruikshan of Henry George Liddell's face. Liddell was Carroll's (Dodgson's) superior in Christ Church, Oxford. The portrait by George Cruikshan shows Liddell at age 28. The resemblance of Holiday's draft of the Billiard marker to Carroll's boss perhaps was a bit too risky for Carroll. The similarity wasn't sufficiently deniable. In the final illustration Holiday was more cautious: He gave an older Liddell a wig (which slipped a bit out of position) and chopped of his chin.

[left]: mirrored view of details from in Henry Holiday's illustration The Vanishing to Lewis Carroll's The Hunting of the Snark (1876) [right]: segments from Allegory of Iconoclasm by Marcus Gheeraerts the Elder (1566-1568)

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

#1 - (allusion to the bedpost #3): 1876, Henry Holiday: Segment of an illustration to Lewis Carroll's The Hunting of the Snark (vectorized after a scan from an 1910 edition of the Snark ) #2 - (allusion to the bedpost #3 and to Philip Galle's print #4): 1850, the young John the Baptist in John Everett Millais : Christ in the House of His Parents (aka The Carpenter's Shop ). The left leg of the boy looks a bit deformed. This is no mistake. Probably Millais referred to #3 and to #4. #3 - (Henry VIII's bedpost): 16th century, anonymous: Redrawn segment of Edward VI and the Pope, An Allegory of Reformation , (mirror view). #4 - (bedpost #3 alludes to bedpost #4): 1564, Redrawn segment of a print Ahasuerus consulting the records by Philip Galle after Maarten van Heemskerck. The resemblance of #4 to the image #3 (the bedpost) was shown by the late Dr. Margaret Aston in 1994 in The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (p. 68). She also compared the bedpost to Heemskerck's Esther Crowned by Ahasuerus .

From his eeriest illustration to The Hunting of the Snark , Henry Holiday alluded to an monstrance-like simulacrum in John Martin's The Bard . [left] Henry Holiday: Illustration (1876) to chapter The Vanishing in Lewis Carroll's The Hunting of the Snark , detail [right] John Martin: The Bard (ca. 1817), mirror view of a horizontally compressed detail.

John Everett Millais' painting Lorenzo and Isabella (National Museums Liverpool, Walker Art Gallery) was inspired by John Keats poem Isabella . The reproduction displayed above shows a detail from the depiction of one of Lorenzo's brothers. Here young Millais left quite visible traces when he re-positioned the elbow of that thug. In November 2012 the Liverpool museums page said (but doesn't say ist anymore): "[...] On the table there is spilled salt, symbolic of the blood which will later be spilled. The shadow of the arm of the foremost brother is cast across this salt, thus linking him directly with the future bloodshed. [...]" In June 2013 I noticed that the "shadow of the arm" and all that is gone. Another page says: "[...] salt, symbol of life, is spilt on the table; [...]" By the way, did you notice that the white salt partially covers the "shadow of the arm"? What a miraculous shadow that is! Has this already been discussed in the past 164 years? See also: www.academia.edu/10907558/More_salt_To_see_or_not_to_see Some quotes, which may be related to this image: “peindre n’est pas affirmer" Michel Foucault. This is Not a Pipe , Chapter 6 ( excerpt ), 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 "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

From Henry Holiday's illustrations to Lewis Carroll's The Hunting of the Snark (1876) Very high resolution version optimized for printing: www.ipernity.com/doc/goetzkluge/37443754

Patterns from an illustration by Henry Holiday (and Joseph Swain) to the chapter The Vanishing in Lewis Carroll's The Hunting of the Snark (1876) and a segment of the Allegory of Iconoclasm (or The Image Breakers ) by Marcus Gheeraerts the Elder (c. 1567). (1st version on Flickr: 2010-08-24 )