{art} – { feuilleton }

Edward Wadsworth woodcuts

Englische Graphik (1923).

More art that caught my attention this week. Edward Wadsworth (1889–1949) is one of those artists with a single work that turns up regularly in social media, prompting a “Wow!” response before everyone moves onto something else. Dazzle Ships in Dry Dock at Liverpool (1919) is the Wadsworth that everyone likes, a painting that combines the artist’s persistent theme of ships and shipping with his experience as a member of the Vorticists, and a designer of “dazzle” camouflage for marine vessels. The dazzle fad didn’t last very long, and was of doubtful utility in any case, but it did give us many pictures of destroyers and batteships painted like floating masses of abstract art.

Platelayers’ Sheds (1914/1918).

Wadsworth’s prints, which include a few dazzle ships, are the kind of bold black-and-white art I always enjoy seeing, pictures that push their representations to the edge of abstraction. The woodcuts differ so much from his later paintings—quasi-Surrealist accumulations of tidal flotsam and other objects arranged against views of the seashore—they might be the work of a different artist altogether.

Liverpool Shipping (1918).

Dock Scene (c.1918).

Townscape (1920).

Continue reading “Edward Wadsworth woodcuts”

The art of Martin Monnickendam, 1874–1943

Gevel van de Saint-Germain-l’Auxerrois.

Martin Monnickendam was a Dutch artist whose work caught my attention not for his paintings but for this series of etchings showing views of the streets and older buildings of Paris. The Rijksmuseum gives the series a date of 1896, when the artist was a mere 22 years of age but already working with a proficiency that makes me wish he’d done more in this style. Monnickendam’s subject and medium brings to mind Charles Méryon’s celebrated etchings of Paris but Méryon’s depictions of Notre-Dame and elsewhere generally place the buildings at a distance. Monnickendam fills his plates with closer views of architectural detail, showing how good the etching medium can be in capturing Gothic crenellations. All of which is of particular interest to me now that I’m working again on The Dunwich Horror. Lovecraft’s story doesn’t feature any specifically Gothic architecture but the detailed shading I’ve been doing is closer to etching than anything else.

Gezicht op de Saint-Gervais.

Impasse des Boeufs.

Marché des Carmes.

Notre-Dame van Moret-sur-Loing .

Continue reading “The art of Martin Monnickendam, 1874–1943”

Weekend links 780

An early illustration by Burne Hogarth from Federal Illustrator, Winter 1931–1932, credited to the artist’s original name, Bernard Spinoza Ginsburg. (Via)

• RIP Simon House, a musician whose death was announced in the same week as news of a remixed edition of Hall Of The Mountain Grill by Hawkwind, the first of the group’s albums to feature House on violin and keyboards. House’s keyboards made a considerable difference to Hawkwind’s sound, expanding the range of their songwriting; the melodramatic scale of Assault And Battery/The Golden Void wouldn’t have been possible without those massed Mellotrons. Post-Hawkwind it was House’s violin that was sought after during his time as a session musician, on songs like Yassassin by David Bowie, and Talking Drum by Japan. He’s also one of the musicians credited on Thomas Dolby’s biggest hit, She Blinded Me With Science (violin again), although his contribution there is easy to mistake for a synthesizer.

• “We did want the name to be weighty and metal-related because it is a kind of a metal band. So what is heavy and what is metal: that was the answer.” Hildur Gudnadóttir talking about Osmium, an experimental quartet comprising Gudnadóttir with James Ginzburg, Rully Shabara and Sam Slater.

• At Criterion: Stephanie Zacharek on Richard Lester’s The Three Musketeers and The Four Musketeers, films from a time “when delighting audiences meant more than catering to the predetermined whims of a dogged fandom”.

• The week in maps: At Public Domain Review, Bernard Sleigh’s Anciente Mappe of Fairyland (ca. 1920 edition); at Nautilus, the first maps of the Earth’s magnetic field.

• The eleventh installment of Smoky Man’s exploration of The Bumper Book of Magic has been posted (in Italian) at (quasi), and in English at Alan Moore World.

• Not on any map: Mark Valentine describes the time he tried to buy a phantom island from the Hudson’s Bay Company.

• At Colossal: “In surreal portraits, Rafael Silveira tends to the garden of consciousness“.

• New music: Osmium by Osmium, and Along The Wind Spear by Survey Channel.

• Anne Billson chooses Anjelica Huston’s ten best roles.

• Owls in Towels

• Five Owls (1970) by Canned Heat | Night Owl (1996) by System 7 | Owls And Flowers (2006) by Belbury Poly

Fantasie di architettura by Aldo Avati

Giving a small collection of architectural designs the label “fantasies” seems an odd thing when so many building designs don’t go further than the planning stage: Frank Lloyd Wright’s mile-high skyscraper is as much a fantasy as the unbuilt towers of London or any of the losing designs from the world’s many architectural competitions. Fantasie di architettura: schizze e prospettive (1920) is a portfolio of 60 plates by Aldo Avati, an architect and stage designer from Bologna whose designs are more fanciful than overtly fantastic. The introductory note refers to “the magician Piranesi” whose architectural caprices, especially his Carceri d’Invenzione, cast long shadows across all the arts. Piranesi’s influence is certainly evident here, in the views through huge ramparts and stone arches, the flights of stairs and dramatic lighting. Some of the views wouldn’t be out of place in this collection of drawings and paintings by an earlier generation of Italian stage designers.

Note: Although the book is titled “Part One” there doesn’t seem to have been a part two.

Continue reading “Fantasie di architettura by Aldo Avati”

The Twilight Magus

Presenting my latest cover for Aconyte’s Arkham Horror line, and the third and final book in a trilogy by Tim Pratt.

Carl Sanford, once the Silver Twilight Lodge’s great leader and now presumed dead, lives in anonymity in Spain, plotting revenge against those who betrayed him. Alone, he calculates his first move to achieve power abroad is by being initiated into the mysterious ancient society called the Red Coterie to secretly take it over. Despite Sanford’s reputation, the Red Coterie demands proof of his occult prowess, sending him on a quest to vanquish The Blood Moon, a reclusive blood magus manipulating humans and monsters alike to achieve their own ends. As Sanford uses every scrap of cunning he possesses to outwit his enemies and prove his worth, old foes from Arkham have discovered his existence and are coming to finish him off once and for all.

The brief for this one was for a design that would continue the form of the previous two volumes while incorporating details of Antoni Gaudí’s architecture, Barcelona being one of the story’s locations. I’ve admired Gaudí’s architecture for a long time but I’ve never had the opportunity to use any of it in an illustration before. Most of the details are tiny ones but the unfinished porch of the Sagrada Família is recognisable, as is the iron dragon from the entrance gate of the Park Güell. The windows behind Sarah van Shaw and Carl Sanford are also Gaudí designs.

Less recognisable, but also a Gaudí creation, is the background pattern which is more visible on the back cover of the book. My previous covers for Aconyte have all used Art Deco mofits to complement stories set in the 1920s, with several of them having elaborate background patterns. The Gaudí design was one I hadn’t seen before, a hexagonal tile in which portions of three organic forms—starfish, ammonite and algae—become whole when the tiles are placed together. It’s a beautifully simple and clever design with the additional bonus for this cover of creating a series of spirals and tendrils which suit the Lovecraftian nature of the story. If you search around you’ll find a number of places selling reproductions as either ceramic tiles or coasters in a variety of materials.

The Twilight Magus will be published in July.

Elsewhere on { feuilleton }
• The Lovecraft archive