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• • • Being a journal by artist and designer John Coulthart, cataloguing interests, obsessions and passing enthusiasms.


 

The art of Henricus Jansen, 1867–1921

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This week’s post is another by Sander Bink about a neglected artist of the Dutch fin de siècle. Once again, this is an artist whose work was new to me. The Mucha-like style of the later pictures (and the one above from the same series) are especially good. My thanks again to Sander for the post.

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Henricus Jansen (1867–1921) was a Dutch painter, graphic artist and illustrator who used ‘Henricus’ as his artist’s name, ‘Jansen’ being a very common and decidedly unsexy surname. He originated from The Hague where Art Nouveau and symbolism flourished in the 1890s more than any other Dutch city.

In the little that has been written about Henricus he is usually considered not to be avant-garde or progressive enough to be an ‘important artist’ (whatever that may mean). He is, however, mentioned in the standard reference work Symbolism in Dutch Art by Polak from 1955. Extensive studies have never been published about him and my main source of information about his life and work is an unpublished university thesis from 1988 by Louis Baeten of which I happen to have a copy. Baeten had spoken to Henricus’s daughter who was then still alive. According to the thesis Henricus must have made hundreds of drawings and paintings but they seem to be quite rare nowadays and seldom come to auction.

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For example, Henricus visited Tunisia in 1901 where Baeten says he produced more than 67 pastels and drawings of which “only seven survive”. These were exhibited in The Hague in 1901, and Leiden in 1907. One of these is depicted here from a private collection: a charming, somewhat cartoon-like ink drawing of three Tunisian male figures.

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From 1887 till 1892 Henricus lived in Paris where he mingled in the bohemian and artistic circles around Le Chat Noir, and knew people like Rodolphe Salis and Paul Verlaine. The drawings and illustrations he produced from around 1890 are strongly influenced by Parisian graphic artists like Steinlen, Grasset and Willette, uncommon models in Dutch art of the 1890s. Examples like the drawing of a lady in an antique market (above) are to be found in his illustrations for a book by Johan Gram, ‘s-Gravenhage in onzen tijd (The Hague nowadays) from 1893.

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More Symbolist in style, and therefore probably more of interest to { feuilleton } readers, are his illustrations for the popular magazine Elsevier’s. The picture shown here is a lithograph he made for the poem ‘Paulinus van Nola’ by the Flemish poet Pol de Mont, published in 1895.

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But his chef d’oeuvre is a series of lithographs inspired by the medieval folk song Heer Halewijn (Lord Halewijn), published in 1904 and exhibited in The Hague the same year, of which three are depicted here (from the collection Van der Peppel.) The most famous of the series is plate number sixteen in which Lord Halewijn’s head is decapitated by a charming lady. It is obviously inspired by Beardsley’s Salomé but is made with an entirely different technique and in colours. There is also a touch of Puvis de Chavannes and Carlos Schwabe to them. They are among the finest examples of Dutch fin de siècle graphic art.

Sander Bink

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Previously on { feuilleton }
The art of Antoon van Welie, 1866–1956
The art of Simon Moulijn, 1866–1948
René Gockinga revisited
Gockinga’s Bacchanal and an unknown portrait of Fritz Klein
More from the Decadent Dutch

 


Weekend links 434

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Group X, No. 1, Altarpiece (1915) by Hilma af Klint.

“Like Kandinsky, and other pioneers of abstract art, af Klint was deeply immersed in theosophy and anthroposophy. But she seems to have taken that interest much further than her male counterparts, participating in (and later leading) séances with a group of women friends. Whatever the spirits said, af Klint did.” Nana Asfour on pioneering abstract painter, Hilma af Klint.

• Four electronic artists reflect on the influence of composer Laurie Spiegel. Spiegel’s The Expanding Universe (1980) is reissued by Unseen Worlds next month. Related: Laurie Spiegel in 1977 playing the Bell Labs Digital Synthesizer.

• At Expanding Mind: Gurdjieffean writer and DuVersity director Anthony Blake talks with Erik Davis about dialogue, synergy, mind between brains, the trouble with teachers, and the gymnasium of beliefs in higher intelligence.

• Mixes of the week: Flashing Noise Mix by Tim Gane, Secret Thirteen Mix 268 by Bérangère Maximin, and Samhain Séance Seven: A Very Dark Place – Prologue by The Ephemeral Man.

Geeta Dayal on Broken Music (1989), a book about sound art edited by Ursula Block and Michael Glasmeier which is now available in a new edition from Primary Information.

• The Sainsbury Archive showcases the graphic design of several decades of the supermarket chain’s products.

• More of the usual suspects: Michael Moorcock and Alan Moore in 2006 discussing Moorcock’s career.

• “Karloff the Uncanny”: Joe Dante talks to Stephanie Sporn about the attraction of old film posters.

Mexico City, another preview (and a psychedelic one) of Randall Dunn’s forthcoming solo album.

• At Haute Macabre: Timeless Phantom Interludes: The Photography of Jason Blake.

Mark Valentine on the current state of Britain’s secondhand book shops.

• At I Love Typography: Unicorns, Frogs and the Sausage Supper Affair.

• “I never wanted to be a cult film-maker,” says John Waters.

• Artist Arik Roper chooses some favourite album covers.

Broken Head (1978) by Eno, Moebius, Roedelius | Broken Horse (1984) by Rain Parade | Broken Aura (2000) by Coil

 


The Cardinal and the Corpse

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Appearing at last on YouTube (although I think it may have been there once before) is the curious TV film that Iain Sinclair (writer & “freak wrangler”) and Chris Petit (director) made for Channel 4′s Without Walls series in 1992. This is a must for enthusiasts of Sinclair’s early novels since it features the real-life models for several of his characters—guitarist/bookdealer Martin Stone, artist/author Brian Catling, crazed bookdealer Driffield—plus Sinclair’s friends Michael Moorcock and Alan Moore. The latter is seen searching for a copy of Francis Barrett’s grimoire, The Magus (1801), a year before he attached the magus label to himself; I still don’t know whether this quest was Alan’s suggestion or Sinclair’s.

Elsewhere there are fleeting portraits of crime writer Robin Cook (aka Derek Raymond), and Kray gang member Tony Lambrianou. Other notable appearances include poet Aaron Williamson, artist John Latham and David Seabrook, a writer whose Jack of Jumps book I designed a cover for in 2006. The narrative, such as it is, is a series of quests and meetings, threaded together with anecdotes about the various personalities who are the real subject of the film. It’s all very hermetic, and what sense it makes to the uninitiated I can’t say, but it holds the attention for 40 minutes. These obscurities have a way of vanishing, so if you’re interested watch it now or download it for later.

Previously on { feuilleton }
Terror and Magnificence
Mister Jarman, Mister Moore and Doctor Dee
Compass Road by Iain Sinclair

 


The Ingenious by Darius Hinks

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My latest cover for Angry Robot Books was revealed this week at the Barnes & Noble blog (where I talk a little about the design aspects) so here it is. The Ingenious is an alchemy-themed fantasy by Darius Hinks, the brief for which required a depiction of the city of Athanor, the central character, Isten, and some indication of the novel’s occult flavour:

Thousands of years ago, the city of Athanor was set adrift in time and space by alchemists called the “Curious Men.” Ever since, it has accumulated cultures, citizens and species into a vast, unmappable metropolis.

Isten and her gang of half-starved political exiles live off petty crime and gangland warfare in Athanor’s seediest alleys. Though they dream of returning home to lead a glorious revolution, Isten’s downward spiral drags them into a mire of addiction and violence. Isten must find a way to save the exiles and herself if they are ever to build a better, fairer world for the people of their distant homeland.

I was also asked to do something in the detailed drawing style of artists such as Philippe Druillet and Ian Miller, a challenge I was happy to accept with the proviso that both those artists are inimitable. As I say in the B&N post, I went in a Miller direction although I don’t know whether anyone would spot the influence. I was more overt years ago in some of my borrowings from Druillet whose aesthetics can be discerned in my poor artwork for Hawkwind and my much better artwork for The Call of Cthulhu. The background pattern was the kind of thing I often do where I spend hours working on something then cover it over, but more of the interlacing and symbolism (all genuine alchemical symbols) will be visible on the back of the book.

The Ingenious will be published on 9th February, 2019.

Previously on { feuilleton }
De Sphaera
Delineations
Musaeum Hermeticum
A triangular book about alchemy
Alembic and Ligier Richier
Atalanta Fugiens
Splendor Solis revisited
Laurie Lipton’s Splendor Solis
The Arms of the Art
Splendor Solis
Amphitheatrum Sapientiae Aeternae
Cabala, Speculum Artis Et Naturae In Alchymia
Digital alchemy

 


Weekend links 433

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Cover art for Six Correlations, a solo album by Emptyset’s James Ginzburg which is released later this month. Photo by Clayton Welham.

• “Every single leather S&M club in London was raided by the police at least once, but they couldn’t get any convictions because juries wouldn’t convict us.” Ed Siddons on the death of London’s gay leather scene.

• I’ve been listening to a lot of Stereolab this week so this post from Dangerous Minds last year was useful: “The intriguing origins of ‘Cliff,’ the cartoon character that’s all over Stereolab’s early album art”.

• Available for pre-order: Performance – The Making of a Classic, a book by Jay Glennie celebrating the 50th anniversary of Donald Cammell & Nicolas Roeg’s cult feature film.

• Out later this month from Strange Attractor: The Haunted Writings of Lionel Johnson, the Decadent Era’s Dark Angel, edited by Nina Antonia.

• Mixes of the week: Rosemary Hill – an Autumn Autobiography by cafekaput, and Secret Thirteen Mix 267 by Drew McDowall.

The top 100 albums of The Quietus’ existence, as picked by tQ’s writers.

RC Harvey on the 50th anniversary of (American) underground comix.

• At Haute Macabre: An enigmatic baroness and her collection of skulls.

Miyu Kojima creates miniature replicas of lonely deaths.

Scratches in Kubrick’s 2001: A Space Odyssey.

Richard Thompson’s favourite albums.

Wrong Airport Ghost by Sam Slater.

Mark Valentine’s 3 Wyrd Things.

• 4/4 In Leather (1981) by Eurythmics | The Girl With The Patent Leather Face (1981) by Soft Cell | Leather Bound (1982) by Patrick Cowley

 


 


 

Signed & numbered prints

    Blotter Art prints

 


 

Coulthart Books

    The Haunter of the Dark
    Reverbstorm

 


 

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Penda's Fen by David Rudkin