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Post by GoetzKluge on Jan 15, 2011 7:48:43 GMT -5
The comparison below is one of the most obvious examples for resemblances between graphical elements in Holiday's illustrations (1876, cut by Joseph Swain) and graphical elements in another image. Quite a few Carrollians knew earlier versions (e.g. the 1st version) of the comparison since February 2009 an had the chance to find out how Holiday dealt with the "nose" of Gheeraert's "head". It's no hoax. Allowing for some Carrollian slowness in taking a jest, I gave the beholders of the comparison some time for own discoveries. But two years is long enough, so now I finally show you the trick: Mirror the nose vertically. The comparison consists of a segment of the illustration to The Banker's Fate (after his encounter with the Bandersnatch) in Lewis Carroll's The Hunting of the Snark (1876) and a horizontally compressed copy of The Image Breakers (1566-1568) by Marcus Gheeraerts the Elder.[/center] More comparisons:
- thecarrollforum.proboards.com/index.cgi?action=gotopost&board=snark&thread=59&post=985
- thecarrollforum.proboards.com/index.cgi?action=gotopost&board=snark&thread=154&post=981 |
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Post by GoetzKluge on Aug 31, 2011 0:21:09 GMT -5
The challenge to Snarkologists: Often evidence is required to support the finding of cryptomorphs in an image. In this case the image itself is the evidence. : 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 and low-pass-filtered some elements which Holiday used to construct the Banker's spectacles.
See also: |
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Post by GoetzKluge on Dec 3, 2011 2:12:33 GMT -5
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Post by GoetzKluge on Feb 2, 2012 15:17:44 GMT -5
The comparison below is one of the most obvious examples for resemblances between graphical elements in Holiday's illustrations (1876, cut by Joseph Swain) and graphical elements in another image. Quite a few Carrollians knew earlier versions (e.g. the 1st version) of the comparison since February 2009 an had the chance to find out how Holiday dealt with the "nose" of Gheeraert's "head". It's no hoax. Allowing for some Carrollian slowness in taking a jest, I gave the beholders of the comparison some time for own discoveries. But two years is long enough, so now I finally show you the trick: Mirror the nose vertically. The comparison consists of a segment of the illustration to The Banker's Fate (after his encounter with the Bandersnatch) in Lewis Carroll's The Hunting of the Snark (1876) and a horizontally compressed copy of The Image Breakers (1566-1568) by Marcus Gheeraerts the Elder. ... Whereas the image above clearly shows that, for that illustration to Lewis Carroll's The Hunting of the Snark, Henry Holiday quoted from Gheeraerts' etching, the comparison below doesn't yield such an obvious resemblance. Anyway, I like that bonnet: : Henry Holiday's depiction of a bonnet (the hat, not the sail) in Lewis Carroll's The Hunting of the Snark (1876) : The Image Breakers (1566-1568) by Marcus Gheeraerts the Elder
There are two ways to map the scale in Holiday's illustration to Gheeraert's etching. Here only one of the two possibilities has been marked (red frame). |
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Post by GoetzKluge on Mar 6, 2012 17:25:59 GMT -5
: a segment from an illustration (1876) by Henry Holiday to The Hunting of the Snark [middle]: and a portrait (1615) of Mary Throckmorton Lady Scudamor by Marcus Gheeraerts the Younger. Here Holiday's creativity and play with zoomorphism gave life to a scarf. See also:
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Post by GoetzKluge on Jan 18, 2014 6:36:35 GMT -5
{left}: Segment from an illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark depicting the Broker (upper left corner). The object he is holding at his lips is the handle of a malacca walking cane, a gesture associated with dandies in the Victorian era. {right}: Segment from anonymous: Edward VI and the Pope, a Tudor anti-papal allegory of reformation (16th century). Holidays Snark illustrations are conundrums. And they were constructed as conundrums. The pattern in the orange frame on the lower left side is an allusion to a rather unobstrusive pattern on the right side. This shows that Holiday did not "copy" patterns just because of they would contribute to the impressiveness of his illustrations. In 1922 (46 years after The Hunting of the Snark was published), Henry Holiday (the illustrator) wrote to George Sutcliffe (Sangorski & Sutcliffe, bookbinders, London): "... you will notice that the Broker in {the proof of the illustration to The Crew on Board} no. 5 is quite different to the one in the later proof no. 2. I had intended to give a caricature a the vulgar specimen of the profession, but Lewis Carroll took exception to this and asked me to treat the head in a less aggressive manner, and no. 2 is the result. I consider that no. 5 has much more character, but I understood L. Carroll's objection and agreed to tone him down. ..." Charles Mitchel called the first design of the broker's face in the lower right corner of the print "conspiciously antisemitic". The change of the printing blocks must have been very important to Carroll, as it took the wood cutter Swain quite some effort to implement that change (see p. 102, Lewis Carroll's The Hunting of the Snark, 1981 William Kaufmann edition). As shown in the image above, the broker's face also appears in the upper left section of Holiday's illustration to the chapter The Hunting. Rather than by a "Semitic" face, Holiday may have been inspired by what could be a cliché of the face of a roman catholic monk depicted in the 16th century anti-papal painting Edward VI and the Pope. |
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Post by GoetzKluge on Feb 22, 2014 10:41:28 GMT -5
{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). |
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Post by GoetzKluge on Jan 11, 2015 3:29:40 GMT -5
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Post by GoetzKluge on Jan 22, 2015 16:35:53 GMT -5
To me, the Bellman's arm (upper left corner in the right image) always looked strangely rounded. But obviously there are arms like that. It took me a long time (until today) to get the idea that also these two images could be related - although I know Duchenne's photo (shown here in mirror view) since a couple of years. www.evolutionnews.org/2012/05/creepy_ghoulish059671.html"Creepy," "ghoulish," "not the best science" -- these are a few indisputable descriptions applied (by Wired magazine) to an experiment Charles Darwin conducted in 1868. He was getting ready to write his book The Expression of the Emotions in Man and Animals and set out to sample reactions from all of 24 human subjects as they responded to and characterized a series of creepy, ghoulish photographs by French physiologist Benjamin Duchenne.
On the right side you see a detail from Henry Holiday's illustration to the chapter The Banker's Fate in Lewis Carroll's The Hunting of the Snark (1876). The only known letter exchange between C. L. Dodgson (aka Lewis Carroll) and Charles Darwin was about photos of facial expressions, which Dodgson offered to Darwin (who kindly rejected the offer). See also: www.academia.edu/10287871/The_Expression_of_Emotions |
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