Darwin at 200

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Man is But a Worm by Edward Linley Sambourne (1882).

Happy birthday Charles Darwin. The reaction to Darwin’s work from Punch and other journals was typical. While his studies remain controversial among those who believe there were dinosaurs on Noah’s Ark, his life and work are now celebrated on the Bank of England’s Ten Pound Note (but with the wrong kind of bird, it seems). Dogmatists take note: the Vatican is no longer on your side:

Father Giuseppe Tanzella-Nitti, Professor of Theology at the Pontifical Santa Croce University in Rome, said that Darwin had been anticipated by St Augustine of Hippo. The 4th-century theologian had “never heard the term evolution, but knew that big fish eat smaller fish” and that forms of life had been transformed “slowly over time”. Aquinas had made similar observations in the Middle Ages, he added.

He said it was time that theologians as well as scientists grappled with the mysteries of genetic codes and “whether the diversification of life forms is the result of competition or cooperation between species”. As for the origins of Man, although we shared 97 per cent of our “genetic inheritance” with apes, the remaining 3 per cent “is what makes us unique”, including religion.

“I maintain that the idea of evolution has a place in Christian theology,” Professor Tanzella-Nitti added.

Edward Linley Sambourne provided Punch with many caricatures of Victorian notables including the famous one of Oscar Wilde undergoing his own process of evolution by turning into a sunflower.

Dawkins on Darwin

Previously on { feuilleton }
“Weirdsley Daubery”: Beardsley and Punch
The Poet and the Pope

Art Nouveau illustration

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The cover picture of yesterday’s book purchase complements the month, being a woodcut by Leopold Stolba entitled February from a Ver Sacrum calendar for 1903. The book is Art Nouveau: Posters and Designs (1971), a collection edited by Andrew Melvin for the Academy Art Editions series and the book includes some covers for Jugend magazine which coincidentally was the subject of Monday’s post.

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Ornamental letters from The Studio magazine, 1894; no artists credited.

I wrote about another of the books in the Academy series, The Illustrators of Alice, a couple of years ago and while I don’t really need yet another Art Nouveau book, the presence of a few illustrations I hadn’t seen before made the purchase worthwhile. Further examples follow.

Continue reading “Art Nouveau illustration”

Jugend Magazine

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Two of several cover illustrations by Hans Christiansen (1866–1945) for 1898 issues of Jugend magazine. I waited a long time for someone to put together a site devoted to Jugend and good as this one is I can’t help but wish it was as thorough as the Simplicissimus site. Jugend is a regular fixture in histories of Art Nouveau since it was the magazine’s promotion of the new graphic style which gave the movement a name in Germany, Jugendstil. The covers look strikingly advanced today in the way they vary their style and the presentation of the magazine title from one week to the next. The monotonous branding of contemporary magazines seems staid in comparison. Christiansen’s swirling title design shows why these covers had such an influence on the psychedelic poster art of the 1960s. You can see a larger copy of that cover here and a further 299 drawings and paintings by the artist here.

Elsewhere on { feuilleton }
The illustrators archive

Previously on { feuilleton }
Meggendorfer’s Blatter
Simplicissimus

The art of Maxwell Armfield, 1881–1972

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De Profundis.

I’ve known Maxwell Armfield’s work in the past mainly for the appearance of his paintings in books of late Victorian or even Pre-Raphaelite art. His depiction of Faustine (1904), which illustrates a Swinburne poem, is probably the most popular of these, with a subject resembling Rossetti’s portraits of Jane Morris. So it’s a surprise to find his illustration work using a very different, more open style based on Ancient Greek art and (possibly) Classical enthusiasts such as John Flaxman. Among the online examples, the redoubtable Internet Archive has a few book downloads available including a volume of Armfield’s rather tepid poetry, The Hanging Garden, and other verse (1914), which nonetheless includes the fine illustrations shown here. In addition there’s a curious fable by Vernon Lee, The Ballet of the Nations; a Present-day Morality (1915) in which Death stages a ballet (aka another war) to decimate humanity, and a short book Rhythmic Shape; A Text-book of Design (1920), Armfield’s guide to art and design theory.

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“Out of the East he came.”

Elsewhere on { feuilleton }
The illustrators archive

Poe at 200

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Poe by Harry Clarke.

Happy birthday Edgar Allan Poe, born two hundred years ago today. I nearly missed this anniversary after a busy weekend. Rather than add to the mountain of praise for the writer, I thought I’d list some favourites among the numerous Poe-derived works in different media.

Illustrated books
For me the Harry Clarke edition of 1919 (later reworked with colour plates) has always been definitive. Many first-class artists have tried their hand at depicting Poe’s stories and poems, among them Aubrey Beardsley, Gustave Doré, Arthur Rackham, W. Heath Robinson and Edmund Dulac; none complements the morbid atmosphere and florid prose as well as Clarke does. And if it’s horror you need, Clarke’s depiction of The Premature Burial could scarcely be improved upon.

Honourable mention should be made of two less well-known works, Wilfried Sätty’s The Illustrated Edgar Allan Poe (1976) and Visions of Poe (1988) by Simon Marsden. I wrote about Sätty’s collage engravings in Strange Attractor 2, and Sätty’s style was eminently suited to Poe’s work. Marsden’s photographs of old castles and decaying mansions are justly celebrated but in book form often seem in search of a subject beyond a general Gothic spookiness or a recounting of spectral anecdotes. His selection of Poe stories and poems is a great match for the photos, one of which, a view of Monument Valley for The Colloquy of Monos and Una, was also used on a Picador cover for Blood Meridian by Cormac McCarthy.

Recordings
These are legion but among the outstanding one-off tracks I’d note two poems set to music, Dream Within a Dream from Propaganda‘s 1985 album, A Secret Wish, and The Lake by Antony & The Johnsons. The latter appeared on the landmark Golden Apples of the Sun compilation and also on Antony’s own The Lake EP.

Among the full-length works, Hal Willner’s 1997 2-CD collection Closed on Account of Rabies features lengthy readings set to music from a typically eclectic Willner line-up: Marianne Faithfull, Christopher Walken, Iggy Pop, Diamanda Galás, Gavin Friday, Dr John, Deborah Harry, Jeff Buckley (one of the last recordings before his untimely death) and Gabriel Byrne. Byrne’s reading of The Masque of the Red Death is tremendous and the whole package is decked out in Ralph Steadman graphics.

Antony Hegarty appears again on another double-disc set, Lou Reed’s The Raven (2003), a very eccentric approach to Poe which I suspect I’m in the minority in enjoying as much as I do. An uneven mix of songs and reading/performances, Reed updates some Poe poems while others are presented straight and to often stunning effect by (among others) Willem Defoe, Steve Buscemi, Laurie Anderson, David Bowie, Amanda Plummer and Elizabeth Ashley.

Films
Once again, there’s too many films but The Masque of the Red Death (1964) has always been my favourite of the Roger Corman adaptations, not least for the presence of Jane Asher, Patrick Magee and (behind the camera) Nicolas Roeg. I wrote last May about the animated version of The Tell-Tale Heart from UPA. That adaptation, with narration by James Mason, is still on YouTube so if you haven’t seen it yet you can celebrate Poe’s anniversary by watching it right now.

Elsewhere on { feuilleton }
The illustrators archive

Previously on { feuilleton }
The Tell-Tale Heart from UPA
William Heath Robinson’s illustrated Poe
The art of Harry Clarke, 1889–1931