{illustrators} – Page 98

Weekend links 147

Bestia Apocalypsi (2000) by Konstantin Kalynovych.

• A funding page for Better Things: The Life and Choices of Jeffrey Catherine Jones, Maria Paz Cabardo’s documentary film about the late comic artist and illustrator.

• Phantasmaphile’s Pam Grossman has declared 2013 to be the Year of the Witch.

• At WFMU: The Space Ghost Coast To Coast Sonny Sharrock Tribute Episode.

I think that mass culture is idiotic. I always have. Even things that are the sort of trendy new whatevers, it’s always about money and sex and nothing else.

Laurie Anderson on music for dogs and Obama.

• It’s that…thing…again. Clive Hicks-Jenkins on his new Mari Lwyd designs.

• Rick Poynor’s Dictionary of Surrealism and the Graphic Image.

• “Why do gay porn stars kill themselves?” asks Conner Habib.

If you’re staycationing in Scarfolk this year you’ll be pleased to hear the town now has 20% less rabies. Above: The 1972–73 prospectus for scarecrow and wicker man biology at Scarfolk Technical College. Related: A Day At The Seaside. I guessed the source even without the cryptic comments. Can you?

• Laurie Spiegel designed a T-shirt for The Wire magazine.

• Julia Holter covers Chiamami Adesso by Paolo Conte.

• Strange Attractor has two new Austin Spare prints.

• Forgotten Women Designers and Illustrators.

• RIP Alan Sharp, a sharp screenwriter.

• “Can You Pass the Acid Test?”

• Sonny and Linda Sharrock live at WKCR 03/21/74 | Many Mansions (1991) by Sonny Sharrock | Ghost Planet National Anthem (1993) by Sonny Sharrock

Weekend links 145

Weird Tales, October 1933. Cover art by Margaret Brundage.

• Michael Moorcock’s novels are being republished this year by Gollancz in a range of print and digital editions. Publishing Perspectives asks Is Now a Perfect Time for a Michael Moorcock Revival? • Related: Dangerous Minds posted The Chronicle of the Black Sword: A Sword & Sorcery Concert from Hawkwind and Michael Moorcock. My sleeve for that album was the last I did for the band. • Obliquely related: Kensington Roof Gardens appear as a location in several Moorcock novels, and also provided a venue for the author’s 50th birthday party. If you have a spare £200m you may be interested in buying them once Richard Branson’s lease expires.

• One of my favourite things in Mojo magazine was a list by Jon Savage of 100 great psychedelic singles (50 from the UK, 50 from the US). This week he presented a list of the 20 best glam-rock songs of all time. For the record, Blockbuster by The Sweet was the first single I bought so I’ve always favoured that song over Ballroom Blitz.

• The Alluring Art of Margaret Brundage is a forthcoming book by J. David Spurlock about the Weird Tales cover artist. Steven Heller looks at her life (I’d no idea she knew Djuna Barnes) while io9 has some of her paintings. Related: Illustrations for Weird Tales by Virgil Finlay.

The masterpiece of Mann’s Hollywood period is, of course, Paracelsus (1937), with Charles Laughton. Laughton’s great bulk swims into pools of scalding light out of greater or lesser shoals of darkness like a vast monster of the deep, a great black whale. The movie haunts you like a bad dream. Mann did not try to give you a sense of the past; instead, Paracelsus looks as if it had been made in the Middle Ages – the gargoyle faces, bodies warped with ague, gaunt with famine, a claustrophobic sense of a limited world, of chronic, cramped unfreedom.

The Merchant of Shadows (1989) by Angela Carter. There’s more of her writing in the LRB Archive.

• Television essayist Jonathan Meades was back on our screens this week. The MeadesShrine at YouTube gathers some of his earlier disquisitions on culture, place, buildings and related esoterica.

• Sometimes snark is the only worthwhile response: An A-Z Guide to Music Journalist Bullshit.

• London venue the Horse Hospital celebrates 20 years of unusual events.

• The Politics of Dread: An Interview with China Miéville.

• How Giallo Can You Go? Antoni Maiovvi Interviewed.

• A guide to Terry Riley’s music.

• Three more for the glam list: Coz I Love You (1971) by Slade | Get It On (1971) by T. Rex | Starman (40th Anniversary Mix) (1972) by David Bowie

The art of Henri Caruchet

Byblis (1901) by Pierre Louÿs.

Henri Caruchet isn’t in George Barbier’s league, never mind that of Alphonse Mucha whose graphic style Caruchet appropriated. I’ve not been able to find details about his life either, all that turns up is examples of his book illustration on various websites. Author Pierre Louÿs is notable for his erotic works but it’s Caruchet’s illustrations for Jean de Villiot (via this site) which travel the furthest in that direction (see below), including another example of that deviant sub-genre, the woman being mauled by an octopus. If Caruchet had been a better draughtsman his illustrations might not have languished for so long.

There’s more decorative illustration by Caruchet at Gutenberg.org with an edition of Théophile Gautier’s Émaux et Camées. Two of Gautier’s poems from that volume are quoted by Oscar Wilde in The Picture of Dorian Gray.

Byblis (1901) by Pierre Louÿs.

Les Litanies de la Mer (1903) by Jean Richepin.

Parisienne et Peaux-Rouges (1904) by Jean de Villiot.

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George Barbier’s Falbalas et Fanfreluches

George Barbier’s work has been a regular visitor to these pages. Falbalas et Fanfreluches was a series of pochoir print portfolios published from 1922–1926, a catalogue of various liaisons and amours with a mildly erotic tone. There’s also some sly humour in the examples below, such as the tiny dogs menacing a dandy in L’Agression, and the eyes of the woman in Romance sans paroles wandering to the trim backside of the posing sailor (who doesn’t seem so interested in her).

In addition to being beautiful drawings, Barbier’s title has solved for me a minor conundrum: Falbalas et Fanfreluches means “Ruffles and Frills”, and the Abbé Fanfreluche is a suitably ruffled and frilled character in Aubrey Beardsley’s unfinished erotic novel Under the Hill.

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Atalanta Fugiens

Alchemy (1969) by the Third Ear Band. Design by Dave Loxley.

For an idea of how these posts often come into being, this one is the result of the following chain of association: an article by Leo Robson about the films of Roman Polanski > A re-viewing of Polanski’s Macbeth > A re-listening to albums by the soundtrack artists for Macbeth, British folk group the Third Ear Band > A tracking down of the famous cover image from the first Third Ear Band album.

Alchemy is the dominant theme of the first two Third Ear Band albums. The engraving used on the cover of their debut album is one of the most frequently reproduced of all images associated with this branch of occultism, one of fifty emblems from Atalanta Fugiens (1618) by the German alchemist Michael Maier (1568–1622).

The plates are by Matthäus Merian, an artist whose career produced a number of notable alchemical illustrations. A detail from one of his other oft-reproduced pieces, Macrocosm and Microcosm from the Basilica Philosophica (1618), appeared on the cover of Pink Floyd’s Saucer Full of Secrets album a year before the Third Ear Band debut. Merian would no doubt be astonished that his work was so visible to future generations even though his name is seldom mentioned at all. The popularity can be accounted for by the way the best of these images seem almost archetypal whilst being resistant to any easy interpretation. Some of Merian’s plates remind me of Magritte’s paintings; they share a tension between carefully rendered yet impossible images that imply a hidden meaning. As Borges considered metaphysics to be a branch of fantastic literature it’s possible to consider this kind of alchemical illustration as a branch of fantastic art.

A 1687 edition of Maier’s Atalanta Fugiens (retitled Scrutinium Chymicum) may be browsed here or downloaded here.

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