Rentz’s Todentanz

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A post for Día de los Muertos. The 16th-century Dance of Death by Hans Holbein the Younger has been copied and adapted many times, often with results that add little to the original. These engravings by Michael Heinrich Rentz (1701–1758) from Der Sogenannte Todentanz (1767) feature some impressive compositions, the subject being the traditional one of Death in skeletal form bearing all and sundry to the grave. They may lack the vigour of Holbein’s series but they compensate with a wealth of fine detail. Browse the rest of the book here or download it here.

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Aubrey Beardsley in The Studio

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Aubrey Beardsley in the year 1893 was 21, and on the threshold of being catapulted to fame (and notoriety) via his illustrations for Oscar Wilde’s Salomé. Some of Beardsley’s drawings in the distinctive style he called “Japanesque” had already appeared in The Pall Mall Magazine, and he was hard at work on some 600 illustrations and embellishments for Dent’s Le Morte D’Arthur which began publication in 1894. Some of those illustrations are featured in the glowing introduction by Joseph Pennell which appeared in the first issue of The Studio magazine in April 1893 (when Beardsley was still only 20), a title that became the leading showcase for the British end of the Art Nouveau movement in the 1890s. Pennell’s appreciation also included Beardsley’s Joan of Arc’s Entry into Orleans, a piece which showed how much the artist’s early work owed to Mantegna, and the first drawing of Salomé which later helped secure the Wilde commission. The Joan of Arc picture was reproduced as a fold-out supplement in the magazine’s second issue.

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All the major Beardsley books refer to Pennell’s article but I’ve never had the opportunity to see it in full until now, thanks to the excellent online archives at the University of Heidelberg. There are many volumes of the international editions of The Studio at the Internet Archive but for some reason these don’t include the early numbers; at Heidelberg we can now browse the missing issues. In the first volume in addition to Beardsley there’s a piece about Frederic Leighton’s clay studies for paintings and sculptures, illustrations by Walter Crane and Robert Anning Bell, and an article on whether nude photography can be considered art. In this last piece several of the examples happen to be provided by Frederick Rolfe aka Baron Corvo, and Wilhelm von Gloeden, two men who we now know had other things on their mind when they were photographing Italian youths.

The collected volumes of The Studio from 1893 to 1898 may be browsed or downloaded here. I’ve not had time to go through the rest of these so I’m looking forward to discovering what else they may contain.

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Detail from Joan of Arc’s Entry into Orleans.

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Elsewhere on { feuilleton }
The Aubrey Beardsley archive

Alas Vegas Tarot cards

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Back in February I bought a Wacom drawing tablet and said I’d show some proper results from its use later. For the past few months I’ve been working on this project using a combination of Wacom drawing and vector graphics. The initial brief from games designer James Wallis was for six Tarot-style card designs for his Alas Vegas role-playing game which has as its theme a fantasy extrapolation from Las Vegas and its gaudy mythology. The Kickstarter funding for the game turned out to be more successful than was anticipated so James asked me to expand the six cards idea into a full set of black-and-white Major Arcana designs.

This has been a fun series to work on although a number of the cards presented problems at first, the antique nature of the Tarot symbolism being a difficult thing to map across a very commercial American city. The symbolism from the Rider-Waite-Smith (RWS) deck was used as a rough guide although we deviated in a few places from the more traditional attributes. Las Vegas has changed over the years so rather than represent a single period of the city’s history there are references to different eras, from the huge casinos of today back to the buildings of the 50s and 60s with their distinctive “Googie” architecture. Notes for the cards follow below. The artwork can be seen at larger size here.

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The Fool is usually a young man about to step off a cliff edge with a dog barking a warning at his heels, hence the dog on the sign.

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Several of the cards convert the Tarot characters into cabaret acts. This one was pretty inevitable, and I’m sure it’s not the first time a stage conjuror has appeared on this card.

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The chair is based on the 1965 “Ball Chair” design by Eero Aarnio (as seen in The Prisoner TV series), adapted here to resemble the Priestess’s crescent moon.

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The style on this one is more 70s than 60s: patterned wallpaper (the hearts derive from the symbolism of The Empress, and from playing cards, of course), white rug, Kung Fu pyjamas.

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More Cameron

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Untitled (Peyote Vision), 1955, Cameron (from Semina journal, no. 1).

Thanks to Erik Davis for drawing my attention to a small online exhibition of Marjorie Cameron artwork and documentary material. Semina was the magazine founded by Cameron’s artist friend, Wallace Berman. The exhibition note tells us that:

Wallace Berman’s only exhibition at Ferus Gallery in 1957 was raided by the LAPD vice squad because of the small reproduction of this sexually graphic work by Cameron that was part of Berman’s assemblage, Temple.

Allen Ginsberg’s Howl successfully fought off an obscenity charge in the same year but the immediacy of visual art means it always fares less well with disapproving authorities. We can assume that Cameron had personal experience of peyote given some verse written by her husband, Jack Parsons, that Robert Anton Wilson quotes in Cosmic Trigger (1977):

I hight Don Quixote, I live on peyote,
marjuana, morphine and cocaine,
I never know sadness, but only a madness
that burns at the heart and the brain.

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On the same site is this wonderful still (or is it a location photo?) from the shooting of Curtis Harrington’s Night Tide in 1961. Seeing this makes me want to watch the film again.

Previously on { feuilleton }
The Wormwood Star
Street Fair, 1959
House of Harrington
Curtis Harrington, 1926–2007
The art of Cameron, 1922–1995

Weekend links 170

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Owl portrait by Iain Macarthur.

• “Ghost Box is a glance through a window seeing something running alongside our version of reality. Like, what if Paul McCartney had made records with the Radiophonic Workshop?” Ghost Box designer and Mr Focus Group, Julian House is interviewed.

• “…that book with the girl with the hatchet in her head…” Dave Tompkins remembers Denis Gifford’s A Pictorial History of Horror Movies (1973), a formative influence of mine, and that of many other people, it seems.

Salvador Dalí’s 1946 illustrated edition of Macbeth. Related: From Macbeth to the Wizard of Oz: New exhibition explores the erotic side of witchcraft.

I do not want to live in a world where the government and a select few conservative feminists get to decide what we may and may not masturbate to, and use the bodies of murdered women or children as emotional pawns in that debate. It is supremely difficult to achieve radical ends by conservative means. Feminists and everyone who seeks to end sexual violence should be very cautious when their immediate goals seem to line up neatly with those of social conservatives and state censors.

Laurie Penny on the recent Tory policy of attempting to limit online pornography.

The Facebook page for The Wicker Man has details of the pursuit for a complete print of the film. A Blu-ray edition will be released in October.

Anne Billson visited the Hotel Thermae Palace in Ostend, the columnated location of Daughters of Darkness.

Kenneth Anger on how he made Lucifer Rising. The ICA in London is screening his films this weekend.

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Roy Krenkel illustrates Tales of Three Planets by Edgar Rice Burroughs, 1964.

The Electric Banana Blows Your Mind: The soundtrack library alter ego of The Pretty Things.

• Mix of the week: an ambient (in the 90s’ sense of the word) DJ set by Surgeon.

Bernie Krause shares the happiest sounds he’s heard in nature.

• RIP Walter De Maria, sculptor and musician.

Sexodrome by Asia Argento with Morgan.

• Metabolist: Identify (1980) | Curly Wall (1980) | Ymuzgo/Pigface (1981)