John Phillip Law, 1937–2008

pygar.jpg

Pygar the angel, Barbarella (1968).

John Phillip Law, who died on Tuesday, was featured here last year in a look at Mario Bava’s crazy live action fumetti, Danger Diabolik (below). Law made that film the same year as he played a blind angel in an equally crazy slab of Sixties’ decadence, Barbarella. In a more serious role, he played opposite the very formidable Rod Steiger in The Sergeant which was released the same year; together with Victim, this was one of the first films I remember watching that dealt with same-sex attraction (albeit in the usual angst-ridden mode), with Law’s character being the understandable object of Steiger’s doomed affection.

After those heights, things tended to be more down than up but I do have an affection for Ray Harryhausen’s The Golden Voyage of Sinbad (1974). Law’s Sinbad was pretty good even if he spends much of the time fighting monsters while Tom Baker was great as the villainous Koura. And I always appreciated that screenwriter Brian Clemens made Lemuria the destination of the voyage, a lost continent mentioned by Madame Blavatsky and many of the Weird Tales writers, including HP Lovecraft in The Haunter of the Dark.

diabolik.jpg

Danger Diabolik (1968).

Previously on { feuilleton }
CQ
Danger Diabolik

The art of Leonor Fini, 1907–1996

fini.jpg

Painter, illustrator and novelist Leonor Fini has been mentioned here before in a post about women Surrealist artists but her wonderful paintings deserve renewed attention. There’s an official site and galleries here (follow the links at the bottom of the page) and here but her work is so profuse and varied there could easily stand to be more.

Elsewhere on { feuilleton }
The fantastic art archive

Previously on { feuilleton }
The art of Michel Henricot
Surrealist women

Franklin Booth’s Flying Islands

booth.jpg

I was rather aggrieved a few weeks ago when I found a copy of James Whitcomb Riley’s The Flying Islands of the Night (1913) at the Internet Archive. Nice to find a free copy of a rare book but the grievance came as a result of an intention to write something about its illustrator, Franklin Booth (1874–1948), and post a picture or two. It turns out that the scanned copy available is complete but all the colour plates have been removed, probably stolen during its career as a library volume. Riley’s story is a piece of light fantasy which might well have been forgotten by now if it wasn’t for Booth’s incredible illustrations; as a result it’s the illustrations that make the book worth seeking out.

booth2.jpg

Booth’s penmanship from Franklin Booth: American Illustrator.

Happily, and by coincidence, Mr Door Tree at the essential Golden Age Comic Book Stories has uploaded scans of his own in the past few days. Beautiful stuff and easily the equal of Booth’s contemporaries in Britain such as Charles and William Heath Robinson, Edmund Dulac et al. Booth’s colour work resembles similar watercolour book illustration of the period but his black & white work was quite unique, being done in a pen style derived from his boyhood interest in engraved magazine illustrations. His careful use of hatched lines went on to influence later American illustrators including Roy Krenkel, Mike Kaluta, Berni Wrightson and others. Golden Age Comic Book Stories has an earlier posting featuring one of Booth’s pen drawings here and a page of Mucha-esque women here.

Bud Plant’s Franklin Booth page
Franklin Booth: American Illustrator

Elsewhere on { feuilleton }
The illustrators archive

The art of Michel Henricot

henricot1.jpg

Voyageur IV (1995).

Born in Paris in 1941, he confesses to being largely “…self-taught. I was always at the Louvre, staring like crazy at the pictures there, fascinated by ‘how it’s done’.” … (Leonor) Fini’s works from the 60s influenced, to a degree, the young Henricot. Depicted in a hieratic style with underlying geometrical forms, her graceful elongated figures seem to exist in timeless spaces that are dark and densely atmospheric. Henricot’s earliest figures also have this graceful quality, but were more stylized and cybernetic, with ergonomic designs on their metallic skins. Sometimes they remained mere torsos, lacking hands to grasp or feet to stand. (More.)

henricot3.jpg

No title or date.

henricot2.jpg

No title or date.

Peinture Visionnaire: Michel Henricot at ArtsLivres
BernArt gallery page
CFM gallery page

Elsewhere on { feuilleton }
The fantastic art archive

Previously on { feuilleton }
Surrealist women