Watercolour ruins

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Approach of the simoom—desert of Gizeh.

The paintings are by Scottish artist David Roberts (1796–1864) from two collections of prints of the Middle East, The Holy Land, Syria, Idumea, Arabia, Egypt and Nubia (1842–1845) and Egypt and Nubia (1846–1849). These are a small sample from many more at the Library of Congress Prints & Photographs archive, and as representations of places that most of the original viewers would never otherwise see they hold up very well beside photos of the same locations. (See this earlier post for photos of Thebes and Kom Ombo a few decades later.) I always enjoy old book illustrations of the Baalbec temple entrance for the way artists seldom resist doing the Piranesi trick of exaggerating its scale, the better to make its perilous keystone seem all the more precariously poised. The doorway is taller today (having been excavated) but less of a threat.

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Baalbec, May 7th, 1839.

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Statues of Memnon at Thebes, during the inundation.

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Ver Sacrum, 1903

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Concluding the series of posts about Ver Sacrum, the art journal of the Viennese Secession. The volume of issues for 1903 continues the bi-monthly format from the previous year only this time the calendar supplement is at the end of the volume. This was the last year for the journal, unfortunately, not least because the Secession had run its course, having perhaps proved its point in providing an alternative to the prevailing trends in Austrian art and design. Koloman Moser, Alfred Roller and Josef Hoffmann left to found the Wiener Werkstätte while Gustav Klimt, who again has an issue devoted to his drawings, went on to paint some of his most famous pictures, including The Kiss.

Ver Sacrum certainly ended on a high note. Most of the issues for 1903 contain woodcuts by a variety of artists with some superb examples of the form. For once there’s work by women—Irma von Dutczynska, Nora Exner and Hilde Exner—there’s more strange art from Marcus Behmer, and also a translated extract from the memorial book written by Arthur Symons following Aubrey Beardsley’s death in 1898. As before, anyone wishing to see more can browse all 498 pages or download the entire volume here.

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Pogány’s Turkish fairy tales

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The illustrations are by Willy Pogány, the forty-four fairy tales were collected and translated by Ignácz Kunos. This wasn’t the first edition of Kunos’s book which dates back to 1889, but Pogány’s edition must be one of the most heavily illustrated, with drawings in a variety of styles throughout. The tipped-in plates look like woodcuts which is a style I’ve not seen from Pogány before. Elsewhere there are many comic demons and monsters rather like the kinds of things Sidney Sime used to enjoy inventing. And many Orientalist motifs, of course The Internet Archive copy isn’t dated but other sites give a date of 1913. This copy is also poorly hand-painted in places. Sacred Texts has the illustrations sans daubings.

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Japanese gay art

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An untitled drawing by Sadao Hasegawa from Japanese Gay Art, an English-language site with a substantial collection of works by Hasegawa and others, all of which are for sale. Examples run the spectrum from Gengoroh Tagame‘s beefcake S&M to Hideki Koh‘s delicate geisha boys. Something for everyone, in other words. There are also artist interviews, and a handful of articles about this area of the Japanese art world.

Elsewhere on { feuilleton }
The gay artists archive

Previously on { feuilleton }
Gekko Hayashi: homoerotics and monsters
The art of Ben Kimura
The art of Goh Mishima, 1924–1989
The art of Hideki Koh
Secret Lives of the Samurai
The art of Sadao Hasegawa, 1945–1999
The art of Takato Yamamoto

Alfred Rethel’s Totentanz

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Der Tod als Erwürger (1851) by Alfred Rethel.

The Danse Macabre seems to be a theme of the month given recent postings at BibliOdyssey, Wurzletod and 50 Watts. In addition to posting examples, BibliOdyssey points the way to some original sources at Düsseldorf, four of them books that feature engravings by German artist Alfred Rethel (1816–1859). (All four books appear to be the same works, unfortunately.) The pictures here are later Rethel pieces that are a lot more detailed, and may well be the last things the artist had published. A note at the British Museum (where a larger copy of the first picture can be seen) states that Rethel was “Insane since 1853”.

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Der Tod als Freund (1851) by Alfred Rethel.

Elsewhere on { feuilleton }
The etching and engraving archive

Previously on { feuilleton }
The art of Jacopo Ligozzi, 1547–1627
Massachusetts memento mori
Skull cameras
Walmor Corrêa’s Memento Mori
The skull beneath the skin
Vanitas paintings
Very Hungry God
History of the skull as symbol