[left]: Segment from a draft by Henry Holiday to Lewis Carroll's The Hunting of the Snark. It depicts the Baker when he visited his uncle (1876).
[right]: John Everett Millais: Segment from Christ in the House of His Parents (1850) depicting Mary (and a part of Christ's face in the upper right corner).
This example very nicely shows how Holiday worked on the construction of his conundrums in his illustrations to Lewis Carroll's The Hunting of the Snark. Even though Holiday copied a face from a face, he reinterprated shapes of face elements from the source face in order to represent different face elements with a resembling shape in the target face. The baker's ear is based on a shape in the depiction of Marie's face which is no ear. The same partially applies to the Baker's nose and the baker's eye.
We know quoting in texts from other texts as an art, e.g. mastered by Tom Stoppard. We know textual conundrums, e.g. the ones by Lewis Carroll. Graphical quotes in the illustrations from other illustrations, paintings etc. deserve the same respect when done well. And Holiday constructed his conundrums very well. The focus on textual analysis of the Snark seems to lead us to underestimate Holiday's paralleling Carroll's wordplay with is own means as an graphical artist.
[left]: Henry Holiday's depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's "The Hunting of the Snark" (engraved by Joseph Swain). Outside of the window are some of the Baker's 42 boxes.
[right top]: John Everett Millais: Christ in the House of His Parents (1850).
[right bottom]: Anonymous: Edward VI and the Pope, An Allegory of Reformation, mirrored view (16th century). Henry VIII is on the right side (original: left). Iconoclasm depicted in the window. Under the window 2nd from left is Thomas Cranmer who wrote the 42 Articles in 1552.
Update 2010-11-19: NPG 4165 Edward VI and the Pope was, until 1874, the property of Thomas Green 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' (Source: Dr. Margaret Aston: The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait, 1994). Thus, when Millais' Christ in the House of His Parents ('The Carpenter's Shop') was painted in 1849-1850, the painting was part of a private collection. It was sold by Christie's 20 March 1874 (lot 9) to an unknown buyer unknown, that is, when Holiday started with his illustrations to The Hunting of the Snark.
[middle]: 16th century, anonymous: Redrawn segment of Edward VI and the Pope, An Allegory of Reformation (mirror view).
[right]: 1564, Redrawn segment of a print Ahasuerus consulting the records by Philip Galle after Maarten van Heemskerck. The resemblance to the image in the middle was discovered and 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.
Update 2010-12-25: In Margaret Aston's The King's Bedpost (1994) the author reports (p. 208) that "Edward VI. and his Council" first appeared in Christie's sale of 20 March 1874. It belonged to Thomas Green, Esq., of Ipswitch and Upper Wimpole Street (Thomas Green III). In 1856 the Suffolk Chronicle described the colletion to which the painting belonged as "by far the most valuable collection of paintings in Ipswitch". In 1830 the collection was in Brook Street, Ipswitch. Sarah An Birkett (since long in the service of the Green family and Thomas Green III's sometime nurse) took care of the collection. In 1843 it moved to another location in London. Margaret Aston: "What happened to is between then and the sale of 1874 is obscure." As John Everett Millais took reference to the Edward VI... painting before 1850 and Henry Holiday before 1876, both artists must have known that painting well.
« Last Edit: Jan 26, 2011, 12:20am by GoetzKluge »
001 "Just the place for a Snark!" the Bellman cried, 002 As he landed his crew with care; 003 Supporting each man on the top of the tide 004 By a finger entwined in his hair.
005 "Just the place for a Snark! I have said it twice: 006 That alone should encourage the crew. 007 Just the place for a Snark! I have said it thrice: 008 What I tell you three times is true."
265 "For England expects--I forbear to proceed: 266 'Tis a maxim tremendous, but trite: 267 And you'd best be unpacking the things that you need 268 To rig yourselves out for the fight."
Snarkologists in their search of sense complained more than just thrice, that in Lewis Carroll's The Hunting of the Snark Henry Holiday's Baker is bald, although Carroll's Baker has (some) whiskers and hair. But Holiday made no mistake.
« Last Edit: Sept 20, 2011, 3:19pm by GoetzKluge »
... [left]: Segment from a draft by Henry Holiday to Lewis Carroll's The Hunting of the Snark. It depicts the Baker when he visited his uncle (1876).
[right]: John Everett Millais: Segment from Christ in the House of His Parents (1850) depicting Mary (and a part of Christ's face in the upper right corner).
This example very nicely shows how Holiday worked on the construction of his conundrums in his illustrations to Lewis Carroll's The Hunting of the Snark. Even though Holiday copied a face from a face, he reinterpreted shapes of face elements from the source face in order to represent different face elements with a resembling shape in the target face. The baker's ear is based on a shape in the depiction of Marie's face which is no ear. The same partially applies to the Baker's nose and the baker's eye. ...
... http://www.flickr.com/photos/bonnetmaker/5322184412/ ... Update 2010-12-25: In Margaret Aston's The King's Bedpost (1994) the author reports (p. 208) that "Edward VI. and his Council" first appeared in Christie's sale of 20 March 1874. It belonged to Thomas Green, Esq., of Ipswitch and Upper Wimpole Street (Thomas Green III). In 1856 the Suffolk Chronicle described the colletion to which the painting belonged as "by far the most valuable collection of paintings in Ipswitch". In 1830 the collection was in Brook Street, Ipswitch. Sarah An Birkett (since long in the service of the Green family and Thomas Green III's sometime nurse) took care of the collection. In 1843 it moved to another location in London. Margaret Aston: "What happened to is between then and the sale of 1874 is obscure." As John Everett Millais took reference to the Edward VI... painting before 1850 and Henry Holiday before 1876, both artists must have known that painting well.
As John Everett Millais included pictorial citations from an anonymous 16th century painting into his 1850 painting Christ in the House of His Parents, I always wondered why that bedpost from the anonymous painting did not made it into Millais painting. But today an idea crossed my mind, which led me to insert image #2 (second from left) into my previous 2010 comparison of images #1, #3 and #4.
[Left]: Henry Holiday: Segment from a depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark (engraved by Joseph Swain).
[Right]: John Everett Millais: Redrawn Segment from Christ in the House of His Parents aka The Carpenter's Shop (1850), presently on display at Tate Britain (N03584).
In my comparisons of Henry Holiday's illustrations to "The Hunting of the Snark" to other paintings and illustrations, I also run into a source to Millais "Christ in the House of His Parents" (upper right corner in the image shown above), in which again you find citations from even earlier artists (which already had been detected by someone else). As for Millais' quoting (which initially was a surprise to me as in case of the quotes I found made by Holiday), there is an interesting article here:
"This article proposes a new framework for analysing different forms of visual reference: allusion (a reference that is integrated into the overall scene) verses inclusion (the overt citation of an image-within-an-image). As the example of Millais demonstrates, images-within-images offer a crucial but often overlooked source of information about artists' attitudes to the visual canons of their day."
Perhaps pictorial quoting (as done e.g. by Henry Holiday, Mahendra Singh and many other artists) just has the same value and purpose as textual quoting in novels, dramas (e.g. by Tom Stoppard, Douglas Adams etc). Thus, both shouldn't be a surprise.
(1) 1876, Segment of an illustration by Henry Holiday to the chapter The Baker's Tale in Lewis Carroll's The Hunting of the Snark (2) 1850, the young John the Baptist in John Everett Millais' painting Christ in the House of His Parents (aka The Carpenter's Shop) (3) 16th century, anonymous: Redrawn segment of Edward VI and the Pope, An Allegory of Reformation (mirror view) (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.
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