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

(1) Henry Holiday: "The Vanishing" Illustration to Lewis Carroll's "The Hunting of the Snark" (1876), lower half (2) John Martin: "The Bard" (detail) commons.wikimedia.org/wiki/File:John_Martin_-_The_Bard_-_Google_Art_Project.jpg ca. 1817 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.

[left] Henry Holiday (and Joseph Swain): Illustration (1876) to chapter The Vanishing in Lewis Carroll's The Hunting of the Snark , detail (showing some plants in the lower right corner of the original illustration) [right] John Martin: The Bard (ca. 1817), detail (showing an army sent by Edward I)

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

Dithered B&W graphics, optimized fpr printing: 105 x 82 mm at 1200 dpi or 210 x 164 mm at 600 dpi (1) Henry Holiday: "The Vanishing" Illustration to Lewis Carroll's "The Hunting of the Snark" (1876), lower half (2) John Martin: "The Bard" (detail) commons.wikimedia.org/wiki/File:John_Martin_-_The_Bard_-_Google_Art_Project.jpg ca. 1817 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.

¤ 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.