Götz Kluge's photos

513 · · He was black in the face, and they scarcely could trace 514 · · · · The least likeness to what he had been: 515 · · While so great was his fright that his waistcoat turned white- 516 · · · · A wonderful thing to be seen! This is probably one of the strongest examples for resemblances between graphical elements in Henry Holiday's illustrations (1876, cut by Joseph Swain) and graphical elements in another image. Sometimes Holiday mirrored his pictorial quotes: Here Holiday vertically flipped the "nose" of Gheeraert's "head". I flipped it back. 2011-12-12 2014-02-22 As for the image on the top of this page: [left]: The Banker after his encounter with the Bandersnatch, depicted in Henry Holiday's illustration (woodcut by Joseph Swain for block printing) to the chapter "The Banker's Fate" in Lewis Carroll's "The Hunting of the Snark" (scanned from an 1876 edition of the book) [right]: a redrawn and horizontally compressed and reproduction of "The Image Breakers" (1566-1568) aka "Allegory of Iconoclasm", an etching by Marcus Gheeraerts the Elder (British Museum, Dept. of Print and Drawings, 1933.1.1..3, see also Edward Hodnett: Marcus Gheeraerts the Elder, Utrecht 1971, pp. 25-29). Also I flipped the "nose" vertically. CC BY-NC-ND 3.0 Version, 2000x2000: www.ipernity.com/doc/goetzkluge/36260048

For details: - www.ipernity.com/doc/goetzkluge/35432309 - www.academia.edu/9889413/The_Bankers_Face

In an early draft to the image The Crew on Deck , the Bellman had a different face than the one which the Bellman had in the final illustration. Henry Holiday moved that round faced character to the illustration The Barrister's Dream and then turned the Bellman into a Darwin look-alike.

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

www.behance.net/gallery/20766013/Henry-Holidays-Snark-Hunt

Original plan of "Oak Tree House", the Residence of Henry Holiday (Hampstead, England, 1880).

Vectorized (Inkscape) image

background: Sir John Tenniel: Alice & Cheshire Cat (1866 or 1869?) vintageephemera.blogspot.de/2010/08/book-illustration-cheshire-cat-alices.html center right: William Robert Hill: Alice in Wonderland (1876) twitter.com/Bonnetmaker/status/525660964700848129 bottom center: Bonomi Edward Warren: Sportsman and dog on a wooded path (1868, watercolor) bottom right: Bonomi Edward Warren: Woodland Scene in Summer with Children on a Path (1871, oil on canvas)

Liddell & Boyd (Alice in the looking glass works) by Karl Beutel 2011 License: CC BY-SA 3.0 Uploaded as commons.wikimedia.org/wiki/File:Liddell_&_Boyd_(Alice_in_the_looking_glass_works)_ by_Karl_Beutel_2011.jpg by Teufelbeutel (his own work) An illustration by Karl Beutel Oil on board 14 x 18 inches Uploaded by Teufelbeutel Created: August 8, 2011

William Robert Hill: Alice in Wonderland, (c1870) (That magic lantern slide formerly shown in nationalmediamuseumblog.wordpress.com/alice-in-wonderland-lewis-carroll-anniversary now has been replaced by a slide by Sir John Tenniel.) 2014-10-28: Previously, Tenniel was credited for the work. Tweets on whether that is correct: twitter.com/Bonnetmaker/status/525660964700848129 · Goetz Kluge ‏@Bonnetmaker Oct 24 @mediamuseum: Is the "Alics in Wonderland" illustration in nationalmediamuseumblog.wordpress.com/2012/06/28/alice-in-wonderland-lewis-carroll-anniversary … really by Tenniel? [...] · Nat. Media Museum ‏@mediamuseum Oct 27 @Bonnetmaker: We've checked and the illustration should be credited to WR Hill. ow.ly/DnADN . Thanks for your tweet - we'll correct · Goetz Kluge ‏@Bonnetmaker Oct 27 @mediamuseum: Could it be that you published the image in mirror view? Hill may have borrowed a bit from Tenniel and Warren. · Nat. Media Museum ‏@mediamuseum Oct 28 @Bonnetmaker: yes - mirror view is a possibility as the slide may have been scanned that way. More info on Hill ow.ly/DrSuJ The full URL: www.nationalmediamuseum.org.uk/collection/cinematography/lanternslides/collectionitem.aspx?id=1951-305/5 That page says: "Ref Number: 1951-305/5 Creator: Hill, W R (c. 1830-1901) Date: 1876 Description: A hand-painted magic lantern slide depicting a scene from 'Alice in Wonderland' painted by W R Hill in 1876 and shown at the Royal Polytechnic Institution, London. // The slide shows Alice standing in a garden. // The Royal Polytechnic Institution in Regent Street, London, was renowned for its spectacular magic lantern shows employing as many as six huge lanterns projecting large, hand-painted slides eight inches (20.3 cm) by five inches (12.7 cm)." www.cinematheque.fr/uk/museum-and-collections/actualite-collections/dons-acquisitions/pilgrim-progress.html "One of the chromatropes in the collection of La Cinémathèque française bears a handwritten inscription on the wood frame: 'Painted by Hill, artist to the Royal Polytechnic'. At a young age, the Londoner W. R. Hill (1823-1901) entered into apprenticeship with the painter and lanternist Henry Childe, considered the official inventor of the chromatrope and 'dissolving views'. Hill and Childe worked together at the Royal Polytechnic until Hill struck out on his own in 1867 and painted alone for John Henry Pepper, director of the Royal Polytechnic, plates depicting a voyage on the Rhine. Hill was certainly the most talented painter on glass of his time[4], the author of, for example, the mechanised plate Angels on the Fields of Bethlehem, in which seven angels beat their wings at different moments and speeds. Thanks to him and to the Royal Polytechnic, the Victorian spectator, immersed in all these natural and supernatural optical illusions, doubtless experienced great delight in the double feeling of realism and illusion. Moreover, that is what accounts for the strangeness of these images, about which it can be said that, in fact, they have no stability between the real and the imaginary." www.slides.uni-trier.de/person/index.php?id=6002910 William Robert HILL (W. R. Hill) in 1897 Portrait photo from OMLJ, December 1897 Slide painter and proprietor of slide making business ...

left: Bonomi Edward Warren: Sportsman and dog on a wooded path (1868, watercolor) center: William Robert Hill: Alice in Wonderland (1876) - without Cheshire Cat (upper and lower segment expanded vertically) That magic lantern slide formerly shown in nationalmediamuseumblog.wordpress.com/alice-in-wonderland-lewis-carroll-anniversary now has been replaced by a slide by Sir John Tenniel. right: Bonomi Edward Warren: Woodland Scene in Summer with Children on a Path (1871, oil on canvas)

Easter Greeting by Lewis Carroll printed by James Parker & Co. (Oxford, 1876) for C. L. Dodgson (aka Lewis Carroll) privately on cream laid fine paper, watermarked by E. Towgood. Tipped in at front end paper of Lewis Carroll's The Hunting of the Snark , 1st edition and 1st printing, Macmillan & Co. (London, 1876). · The Hunting of the Snark is not a nonsense poem, it's a tragedy: www.sothebys.com/en/auctions/ecatalogue/2014/english-literature-history-childrens-books-illustrations-l14404/lot.646.html : "[...] Here Carroll makes himself explicit by illustrating his ideas with a small original drawing within the letter. The letter also carries three notes in pencil (initialled HH) in which Holiday provides comments in answer to Carroll’s criticism, "I did not adopt this criticism on the drawing" and "L.C. has forgotten that ‘the Snark’ is a tragedy…", for example (4 pages, 8vo, The Chestnuts, Guildford, 4 January 1876, tipped-in). [...]" Perhaps during writing the poem, Carroll became afraid of his own work and tried to prepare his readers for the tragedy by inserting the Easter Greeting into the first edition of the book.

That night club in Taipei has been closed already even though in 2015 Alice will celebrate her 150th anniversary. However, in 2026 the Snark will celebrate his 150th anniversary as well. The Snark is coming,

There was an old man of Port Grigor, Whose actions were noted for vigour; He stood on his head till his waistcoat turned red, That eclectic old man of Port Grigor. Edward Lear, 1872 (In Lear's original illustration, the waistcoat was white. The printing was B&W only. I added the red color and vectorized the illustration before enlarging it.)

[top]: Matthias Grünewald: "Visit of Saint Anthony to Saint Paul", retinex filtered, vectorized and color desaturated detail from Isenheim altarpiece (1512–1516). Perhaps also elements from the other altarpiece depicting "The Temptation of Saint Anthony" went into Holiday's illustration (see also Mahendra Singh's blog justtheplaceforasnark.blogspot.de/search/label/Matthias%20Gr%C3%BCnewald ). [bottom]: Henry Holiday: from an illustration to the chapter "The Beaver's Lesson" in Lewis Carroll's "The Hunting of the Snark". 2018-12-27: I tweeted my finding to the Musée Unterlinden. And they retweeted it: snrk.de/kitty

A construction worker found a way to cope with 35°C and high humidity in Taipei Photo by Elizabeth Chen-Ming (2014-09) Processing by Goetz Kluge (2014-10)

Matthias Grünewald, from Isenheim Altarpiece (1512–1516), original and retinex filtered greyshade version. commons.wikimedia.org/wiki/File:Grunewald_Isenheim3.jpg commons.wikimedia.org/wiki/File:Matthias_Gr%C3%BCnewald_-_Visit_of_St_Anthony_to_St_Paul_and_Temptation_of_St_Anthony_-_WGA10771.jpg