René Bull’s Salomé

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An illustration by René Bull (1872–1942) from The Russian Ballet (1913) by AE Johnson. Bull seems to be primarily known as one of the many illustrators of that Golden Age staple, The Arabian Nights, although his interpretation is a little too comical for my taste. You can judge for yourself here.

Other Salomés turning up recently include a George Barbier picture in this BibliOdyssey post, Salomé, la Gran Diva at Bajo el Signo de Libra, and the Guardian’s review of David McVicar’s Pasolini-esque opera production.

Elsewhere on { feuilleton }
The illustrators archive
The Salomé archive

Pamela Colman Smith’s Russian Ballet

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Another chance find at the Internet Archive. This small book from 1913 is an appraisal of Diaghilev’s Ballets Russes written by noted actress Ellen Terry and with illustrations—which Archive.org doesn’t mention—by Pamela Colman Smith, an artist whose Tarot designs are some of the most successful ever created yet who received little credit for her work while she was alive. It’s a shame that the Internet Archive perpetuates this state of affairs despite her name on the book’s title page. This is a fascinating set of ink sketches all of which are marked by the distinctive monogram familiar from her Tarot cards. One of the drawings in the book is also marked by an obscene doodle; I’ll leave it to the curious to discover which one.

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Continue reading “Pamela Colman Smith’s Russian Ballet”

Weekend links #7

The Kosher Guide to Imaginary Animals by Ann and Jeff VanderMeer (and sporting my design inside and out) is now in print. The grotesque creatures on the jacket and inside are from a celebrated set of prints by Arent van Bolten.

• More VanderMeeria: my cover for Jeff’s novel Finch continues to garner attention. Artist John Picacio selected it as part of his contribution to this discussion of genre cover designs (thanks John) and io9 followed up by choosing it from SF Signal’s selection.

• Graphic design: the Ballets Russes at BibliOdyssey; Julian Montague’s “books from an invented intellectual history” at A Journey Round My Skull; Women, Snakes and Stalkers, book covers from the PK (Indo-Iranian languages and literatures) section of the University of Chicago’s Regenstein library (also here); I want this book: Arabesque – Graphic Design from the Arab World and Persia.

• Photography: Richard Davies’ documenting of Russia’s wooden churches; Dave Walsh’s fata morgana mirages in the Arctic.

• Illustration: Jacob Escobedo at Sci-Fi-O-Rama; Mahlon Blaine reprinted.

• The gays: Oliver Frey (aka Zack) has originals of his erotic art for sale; 100 is the third book of erotic portraits from photographer Dylan Rosser.

Silent Porn Star is back. Related: Susie Bright praises sexual expression.

• The Libel Reform Campaign is trying to reform England’s egregious libel laws. Sign their petition here.

• RIP: Victor Arwas, art collector, writer and scholar; Alex Chilton, musician and record producer.

• The record sleeve that’s also the record player.

• Song of the week: Guess I Was Dreaming by The Fairytale (1967).

L’Amour Fou: Surrealism and Design

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Cadeau Audace by Man Ray (1921).

L’amour fou by Robert Hughes
Fur teacups, wheelbarrow chairs, lip-shaped sofas … the fashion, furniture and jewellery created by the Surrealists were useless, unique, decadent and, above all, very sexy.

The Guardian, Saturday March 24th, 2007

THE VICTORIA AND Albert’s big show for this year, Surreal Things: Surrealism and Design, is—well, maybe we don’t much like the word “definitive”. But it’s certainly the first of its kind.

Everyone knows something about surrealism, the most popular art movement of the 20th century. The word has spread so far that people now say “surreal” when all they mean is “odd”, “totally weird” or “unexpected”. No doubt this would give heartburn to André Breton, the pope of the movement nearly a century ago, who took the title from his friend, the poet Guillaume Apollinaire, who had called his play The Breasts of Tiresias, “a surrealist drama”. But too late now. The term is many years out of its box and, through imprecision, has achieved something akin to eternal life. Surrealist painting and film, that is. In fact, some surrealist images have imprinted themselves so deeply and brightly on our ideas of visual imagery that we can’t imagine modern art (or, in fact, the idea of modernity itself) without them.

Think Salvador Dalí and his soft watches in The Persistence of Memory. Think Dalí again, in cahoots with Luis Buñuel, and the cut-throat razor slicing through the girl’s eye, as a sliver of cloud crosses the moon (actually, the eye belongs to a dead cow, but you never think this when you see their now venerable but forever fresh movie An Andalusian Dog, 1929). Think of photographer Man Ray’s fabulous Cadeau Audace (‘Risky Present’, 1921), the flatiron to whose sole a row of tacks was soldered, guaranteeing the destruction of any dress it would be used on. Think of Rene Magritte’s The Rape, that hauntingly concise pubic face, with nipples for eyes and the hairy triangle where the mouth should be. Think of the shock, the horniness, the rebellion, the unwavering focus on creative freedom, the obsessive efforts to discover the new in the old by disclosure of the hidden…

Continues here

Previously on { feuilleton }
The Surrealist Revolution
Surrealist Women
Las Pozas and Edward James
Surrealist cartomancy