Maldoror illustrated

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Les Chants de Maldoror by Corominas (2007).

There seems to be no escaping from HP Lovecraft just now, the illustration above having been created for a PDF publication entitled CTHULHU, Cómics y relatos de ficción oscura, produced by these people. The Cthulhu-zine seems to be unavailable but you can see more of these splendid illustrations, based on Lautréamont’s Les Chants de Maldoror (1869), at Dorian Gray BD. The artist, Corominas, has an additional blog showcasing more commercial work.

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Les Chants de Maldoror by Jacques Houplain (1947).

Lautréamont’s delirious masterpiece isn’t exactly the easiest book to illustrate but the Corominas drawings certainly capture some of its ferocious energy. The Surrealists were big Maldoror enthusiasts, of course, and did much to establish Lautréamont’s current reputation. Salvador Dalí produced a series of engravings for a Skira edition in 1934 although his drawings look less like illustrations of the text than a rifling of the artist’s usual preoccupations. The picture above by Jacques Houplain is one of a series of twenty-seven engravings produced for a French edition in the 1940s. More recently, Jean Benoît created (among other things) a Maldororian dog and there’s even been an attempt at a comic-strip adaptation from Hernandez Palacios. On the whole I prefer the Corominas pictures but then I’m biased towards that style of drawing which owes something to all the comic artists and illustrators influenced by Franklin Booth.

Elsewhere on { feuilleton }
The illustrators archive
The etching and engraving archive

Previously on { feuilleton }
Franklin Booth’s Flying Islands
Carlos Schwabe’s Fleurs du Mal
The art of Jean Benoît

The persistence of DNA

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The Persistence of Memory (1931).

Forensic scientist uses DNA to explore Dalí’s bizarre genius
Samples taken from nasal feeding tubes could also help to authenticate works

James Randerson in San Antonio
The Guardian, Saturday, February 24, 2007

IT IS LIKE something from a surrealist still life—a hat, glasses, moustache and toilet seat. This is the collection of belongings that forensic scientist Michael Rieders was offered when he put the word out that he was trying to track down Salvador Dalí’s DNA.

“I have been fascinated by Dalí and his artwork since I was around 11 years old,” he said. “I found it hard to believe that a person could come up with such exotic, bizarre art.”

By tracking down Dalí’s DNA he felt he could get closer to the surrealist artist. But more than that, he hoped that if he could characterise Dalí’s DNA fingerprint, he could use it to help authenticate the handful of paintings and artworks that are not signed but are claimed by some to have been painted by the Spanish master.

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Watchmen

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This year sees the 20th anniversary of the publication of Watchmen by Alan Moore and Dave Gibbons. The landmark comic book, one of the few to deserve the designation “graphic novel”, remains a particular favourite of mine, and one that still excites for its consummate command of the comics medium. The following is a very long round table discussion with Watchmen‘s creators from issue 100 of Fantasy Advertiser, first published in March 1988. It’s surprising that this doesn’t seem to have been posted anywhere else on the web as it’s an excellent discussion about this great book.

Spoiler warning: this piece discusses in depth just about every revelation in the story so you’d be advised to skip it if you haven’t read the book.

MARTIN SKIDMORE: Alright, let’s have a starting point… just what is it about Watchmen that distinguishes it from other…
STEVE WHITAKER: Cream cheeses?
MS: …superhero comics on the market?
DAVE GIBBONS: Is this in the form of direct questions to us, or…
FIONA JEROME: No, we’re all gonna talk.
DG: Well, I’ll have a schnoozle then…
SW: The thing that I think distinguishes Watchmen from other comics is that the series holds together more like a novel. Your climax isn’t in the last 3 panels in Watchmen 12. There are long quiet tracts with exciting bits or…moderately exciting bits (LAUGHTER) In terms of Jack Kirby Wham! Smash! Pow! it’s all very quiet. There’s a lot of suffering but…
MS: …it’s all emotional rather than physical suffering.
ALAN MOORE: It’s a difficult question for me and Dave to answer, probably one that you could answer better, but if I had to say anything then it’s the degree of structure that me and Dave have applied to it—I can’t think of many examples of that degree of structure, that degree of layering.
FJ: I was going to say: especially visually you don’t get such a use of motif certainly not in American comics.
MS: Doug Moench has used it occasionally.
FJ: But not with the same complexity and not filling-in with written structure as well.
PETER HOGAN: The thing is: you’re given a world. The characters, alright, they’re based on the Charlton Characters but they’re new as of page 1. Even so, they’re characters with a history that comes out over the course of the thing… Their world has a history… it has a cohesion to it.
SW: Something that quite interests me now we’re talking about structure and stuff, is the symmetry—there is a real symmetry to Watchmen and the way the characters are set up.
DG: Two arms… two legs. (LAUGHTER)
MS: Perhaps the Comedian and Rorschach…
SW: I was thinking more of Osterman and Ozymandias.
MS: That’s right—the intellectual and physical, chaos and law…
AM: It’s difficult pinning down what’s symmetrical to what—I mean to me, at least to some extent, there’s an equally good case for contrasting Nite Owl and Rorschach.

Continue reading “Watchmen”