Götz Kluge's photos

My first comparison related to The Banker (2009). After more than one year I suddenly understood Holiday's nose job:

[left]: Segment from an Illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark (1876). [right, mirror view]: The Bone Player (1856) by William Sidney Mount, now displayed in MFA, Boston. See also: www.academia.edu/9889413/The_Bankers_Face

Wohl im August 2004 berichtete die Abendzeitung in München über eine "Buddha-Kneipe am Dom". So entstand diese Kachel für eine Desktop-Tapete Die Kneipe überlebte nicht. Der AZ wünsche ich, dass sie uns erhalten bleibt. (This desktop wallpaper tile is about a report by the daily "Abendzeitung" about a "Buddha-Pub" in Munich, probably August 2004. The Munich Buddhists took it easy and didn't mind. The pub is gone by now. And the paper is in trouble. I hope, they'll survive.)

Wohl im August 2004 berichtete die Abendzeitung in München über eine "Buddha-Kneipe am Dom". So entstand diese Kachel für eine Desktop-Tapete Die Kneipe überlebte nicht. Der AZ wünsche ich, dass sie uns erhalten bleibt. (This desktop wallpaper tile is about a report by the daily "Abendzeitung" about a "Buddha-Pub" in Munich, probably August 2004. The Munich Buddhists took it easy and didn't mind. The pub is gone by now. And the paper is in trouble. I hope, they'll survive.)

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. In this case the images are [left]: The Banker after his encounter with the Bandersnatch , depicted in a segment of Henry Holiday 's illustration to The Banker's Fate in Lewis Carroll's The Hunting of the Snark (scanned from an 1876 edition of the book) and [right]: a horizontally compressed copy 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). I mirrored the "nose" about a horizontal axis.

[left]: The Banker's nose in Henry Holiday's illustration to the chapter "The Banker's Fate" in Lewis Carroll's "The Hunting of the Snark" (1876). [right]: "nose" (mirrored about a horizontal axis) from a horizontally compressed segment 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). ---> www.academia.edu/10103262/Noseflip_animation_

From Pope to Wood Shavings [left]: Rotated segment from John Everett Millais : Christ in the House of His Parents (1850). [center]: As above. Blurred. [right]: Rotated segment from anonymous: Edward VI and the Pope, a Tudor anti-papal allegory of reformation, mirrored view (16th century).

Finding Millais' allusions to an anonymous painter is a "bycatch" of my Snark hunt. [top]: John Everett Millais : Christ in the House of His Parents aka The Carpenter's Shop (1850). Location: Tate Britain (N03584) , London. Literature: * Deborah Mary Kerr (1986): John Everett Millais's Christ in the house of his parents ( circle.ubc.ca/handle/2429/26546 ) p.34 in (01) Éva Péteri (2003): Victorian Approaches to Religion as Reflected in the Art of the Pre-Raphaelites, Budapest 2003, ISBN 978-9630580380 (shortlink: www.snrk.de/EvaPeteri.htm ) * Albert Boime (2008): Art in an Age of Civil Struggle, 1848-1871 p. 225-364: The Pre-Raphaelites and the 1848 Revolution ( en.wikipedia.org/wiki/Special:BookSources/0226063283 ) [bottom]: Anonymous : Edward VI and the Pope , An Allegory of Reformation, mirrored view (16th century, NPG 4165 ). Iconoclasm depicted in the window. Under the "window" 3rd from left is Thomas Cranmer who wrote the 42 Articles in 1552. Edward VI and the Pope (NPG 4165) was, until 1874, the property of Thomas Green, Esq., of Ipswich and Upper Wimpole Street , a collection 'Formed by himself and his Family during the last Century and early Part of the present Century' (Roy C. Strong: Tudor and Jacobean Portraits , 1969, p.345). Thus, when Millais' Christ in the House of His Parents ('The Carpenter's Shop') was painted in 1849-1850, the 16th century painting was part of a private collection. It was sold by Christie's 20 March 1874 (lot 9) to a buyer unknown to me, that is, when Holiday started with his illustrations to The Hunting of the Snark . Location: National Portrait Gallery, London

Tileable image for desktop backgrounds

Winter smoke in Shanghai, China, with a clear border-layer for the vertical air-spread (1993).

Segments from [left, vertically stretched]: The top of the fireplace in Alfred Parsons' depiction (1882) of Charles Darwin's study in Downe [right]: an illustration (1876, printed 1911) by Henry Holiday to Lewis Carroll's The Hunting of the Snark Rescaleable formats for printing posters: PDF (7.7 MB) and SVGZ (8.3 MB). (The segment of Alfred Parsons' depiction of Charles Darwin's new study is used here with permission by Dr. John van Wyhe, darwin-online.org.uk/ . Henry Holiday's illustration has been scanned from a 1911 book.)

Desktop background for my Linux Mint installation Based on "Green on Green" by MJ Maccardini (trailerfullofpix) 2012-02-26 www.ipernity.com/doc/mjm/20433303

Close up: Sulfur shelf fungus on cherry tree in a suburb north of Munich (Bavaria)

Sulfur shelf fungus on cherry tree in a suburb north of Munich (Bavaria)

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

Reproduction of "Portrait of Charles Robert Darwin", original painting (1869) by Laura Russell (1816-1885), oil on canvas, on display at the Yale Center for British Arts for the exhibition "Endless Forms: Charles Darwin, Natural Science and the Visual Arts"

Franz von Stuck: Dissonanz , 1910