Götz Kluge's photos with the keyword: Beifang

¤ 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.

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slide formerly shown in nationalmediamuseumblog.wordpress.com/alice-in-wonderland-lewis-carroll-anniversary now has been replaced by a slide by Sir John Tenniel.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)

[left]: Vectorized segment from John Everett Millais : Christ in the House of His Parents aka The Carpenter's Shop (1850). Location: Tate Britain (N03584) , London. [right]: Vectorized segment from Philip Galle after Maarten van Heemskerck , Redrawn print Ahasuerus consulting the records (1564). Location: Rijksmuseum, Amsterdam

[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 ) [center]: 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 [bottom]: Philip Galle after Maarten van Heemskerck , Redrawn print Ahasuerus consulting the records (1564). The resemblance to the image above (middle) was shown by 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 . Location: Rijksmuseum, Amsterdam Detail: The Carpenter and Ahasuerus: Before I found Millais' allusions as a kind of bycatch of my Snark hunt, I started with Henry Holiday's allusions to Millais: An "allusion chain": Album: J. E. Millais

[left] Maurits Cornelis Escher: Cimino Barbarano , 1929 (in Escher's "Italian" period). This reproduction of the original print has been horizontally compressed and segments on the right side and of the left side of the image have been removed. [right] John Martin: The Bard , ca. 1817. The colors of the original painting have been completely desaturated and segments on the top and the bottom of the image have been removed. As for calling this "allusion", I am just polite. See also: flipsideflorida.wordpress.com/2013/03/06/escher-the-bard