A journal by artist and designer John Coulthart.
Art
Alphonse Mucha produced several series of themed prints but none of them depict the traditional western (or alchemical) elements like this set of postcards. Gisbert Combaz was a Belgian contemporary of Mucha’s, and his cards were issued in 1899 at a time when he was producing Art Nouveau-styled posters and other graphics. There’ll be more of his work tomorrow.
Previously on { feuilleton }
• Arcimboldo’s Four Elements
• Joachim Beuckelaer’s Four Elements
Untitled drawing by Jean Gourmelin.
• Yet another book featuring my design work (interiors this time) has been published in the past week. Leena Krohn: Collected Fiction is an 850-page selection of novels, novel extracts and short works from a prolific Finnish author of the fantastic. Many of the selections are being published in English for the first time:
From cities of giant insects to a mysterious woman claiming to be the female Don Quixote, Leena Krohn’s fiction has fascinated and intrigued readers for over forty years. Within these covers you will discover a pelican that can talk and a city of gold. You will find yourself exploring a future of intelligence both artificial and biotech, along with a mysterious plant that induces strange visions. Krohn writes eloquently, passionately, about the nature of reality, the nature of Nature, and what it means to be human. One of Finland’s most iconic writers, translated into many languages, and winner of the prestigious Finlandia Prize, Krohn has had an incredibly distinguished career. Collected Fiction provides readers with a rich, thick omnibus of the best of her work—including novels, novellas, and short stories. Appreciations of Krohn’s work are also included.
• “Not only is the nature of Rollin’s choice of images close to [Clovis] Trouille’s, the director structures his movies in a similar fashion, crowding his movies with dreamy horror iconography. Rollin has specifically cited the influence of Trouille’s paintings on his work alongside that of other Surrealist painters working in a figurative style.” Tenebrous Kate explores the influences (and influence) of Jean Rollin’s erotic horror films.
• “[Morton] Subotnick might just have been the first person to get a club full of people—including the entire Kennedy family—dancing to purely electronic music when he played his Silver Apples Of The Moon at the opening night of New York’s legendary Electric Circus.” Robert Barry interviews the pioneering composer.
• “What I actually wanted to do was make music that contained all that was new in the 20th century,” says Irmin Schmidt in an interview with Bruce Tantum. Good to read that Rob Young is writing a biography of Can.
• “…gay mainstream culture was never really about expressing individuality, for me. It always seemed very conformist,” says Bruce LaBruce in conversation with Mike Miksche.
• At Dangerous Minds: Paul Gallagher on the making of Ken Russell’s The Devils, and Martin Schneider on the return of Paul Kirchner’s wordless comic strip, The Bus.
• Two years ago a group of Russian urban explorers climbed the Pyramid of Cheops at night. They’ve just returned from South America, and have a report here.
• In the wake of their new album, Kannon, Jason Roche asks “Are drone-metal icons Sunn O))) the loudest band on the planet?”
• Junji Ito returns to horror with two new titles. Related: Fuck Yeah Junji Ito.
• Mix of the week: FACT mix 527 by Jóhann Jóhannsson.
• Anna von Hausswolff‘s favourite albums.
• Touch (Beginning) (1969) by Morton Subotnik | Rapido De Noir (1981) by Irmin Schmidt & Bruno Spoerri | The Gates of Ballard (2003) by Sunn O)))
Yig for Rattled by Douglas Wynne.
Presenting one of this summer’s bigger projects, these are my drawings for The Gods of HP Lovecraft, a collection of 12 all-new stories edited by Aaron French for JournalStone. After I’d begun work I was asked whether I could illustrate all 12 stories but since I was already busy with The Monstrous it wasn’t possible. My drawings occupy the second half of the book, with the first half being filled out with suitable illustrations by Paul Carrick and Steve Santiago. The contents are as follows:
Call the Name by Adam LG Nevill (Cthulhu)
The Dark Gates by Martha Wells (Yog-Sothoth)
We Smoke the Northern Lights by Laird Barron (Azathoth)
Petohtalrayn by Bentley Little (Nyarlathotep)
The Doors that Never Close and the Doors that Are Always Open by David Liss (Shub-Niggurath)
The Apotheosis of a Rodeo Clown by Brett J. Talley (Tsathoggua)
Rattled by Douglas Wynne (Yig)
In Their Presence by Christopher Golden & James A. Moore (The Mi-Go)
Dream a Little Dream of Me by Jonathan Maberry (Nightgaunts)
In the Mad Mountains by Joe R. Lansdale (Elder Things)
A Dying of the Light by Rachel Caine (Great Race of Yith)
Down, Deep Down, Below the Waves by Seanan McGuire (The Deep Ones)
Mi-Go for In Their Presence by Christopher Golden & James A. Moore.
Despite having produced a fair amount of Lovecraft-related illlustration there’s still some areas of his work that I haven’t touched, especially where creature portraits are concerned. So this collection features my first attempts at rendering one of the Mi-Go and one of the Yithians from The Shadow Out of Time. The latter are often represented as fearsome monsters which always strikes me as erroneous when so much description in the story is devoted to their book reading and archive building. Aliens, yes, but monsters they are not. There was some concern when I delivered the artwork that the fine lines and detail might not print so well on paperback stock but the printing is excellent throughout. I recommend this collection for anyone in the mood for some new Lovecraftian fiction.
Night-Gaunt for Dream a Little Dream of Me by Jonathan Maberry.
This is a record label I’d not come across before. According to this page Orphic Egg “was a subsidiary label for London Records which was formed in 1972 and lasted about a year. The label was formed to try to capture classical music for the counterculture youth of the time (often called ‘heads’). Liner notes were written by hip rock critics respected by the youth.” According to Discogs the first release, The Baroque Head, was 1971. The covers below follow in chronological order through to 1973. With the exception of the Edgard Varèse album all the releases are compilations of older recordings grouped by composer or theme.
Discogs doesn’t give credits for all the cover art but the series was the work of several different illustrators with George McGinnis being responsible for the design. Jason Roberts’ cover for the Mussorgsky album is a suitably wild piece of late psychedelia for a collection that includes Night On Bald Mountain. There’s a nod there to the Chernobog from Disney’s Fantasia, while the Scriabin cover is an overt swipe from an original piece by Jean Delville. The Mussorgsky album is also notable for the bizarre and unique conjunction of music conducted by Herbert von Karajan and liner notes by Lester Bangs. I have to wonder what the haughty maestro of the Berlin Philharmonic would have made of the sleeve if he ever saw it.
Cover by Valentine Hugo for Contes Bizarres (1933) by Achim d’Arnim. See Hugo’s interior illustrations here.
• “In spite of the blood-drinking pursuits of Rollin’s protagonists, there’s very little in the way of body horror to be found. His undead are sensual, romantic creatures that are frequently delicate of mind and body. These movies attempt to evoke nuanced emotional responses with their mixture of romance, loss, eroticism, and tragedy.” Tenebrous Kate on Sex, Death, and the Psychedelic Madness of Jean Rollin.
• “Late at night, [Melville] ‘turned flukes’ down Oxford Street as if he were being followed by a great whale, and thought he saw ‘blubber rooms’ in the butcheries of the Fleet Market.” Philip Hoare on Herman Melville’s time in London.
• Haunted by Books, a new collection of writings by Mark Valentine, “explores the more curious byways of literature.” Full details at the home of the esoteric, Tartarus Press.
I am completely an elitist, in the cultural but emphatically not the social sense. I prefer the good to the bad, the articulate to the mumbling, the aesthetically developed to the merely primitive, and full to partial consciousness. I love the spectacle of skill, whether it’s an expert gardener at work, or a good carpenter chopping dovetails, or someone tying a Bimini hitch that won’t slip.
Art critic Robert Hughes quoted in a review by Siri Hustvedt of The Spectacle of Skill: Selected Writings of Robert Hughes
• “Art, art – I couldn’t give a crap about art.” Oscar Wilde’s nephew, Arthur Cravan, puts in another appearance at Strange Flowers.
• “The Tarot is utterly fascinating,” says Evan J. Peterson discussing his Tarot-inspired writing with Tarot Poetry.
• Manuel Göttsching: “A lot of crazy music happened at the end of the ’60s, very strange, and very curious…”
• Mixes of the week: Secret Thirteen Mix 169 by Chra, and 28th November 2015 by The Séance.
• Czech Artists’ Radical Book Designs of the Early 20th Century
• Ten things you might not know about Yayoi Kusama.
• More megaliths: Francis Pryor on ritual landscapes.
• Peaches gets wild in the desert: Rub (uncensored).
• Irmin Schmidt‘s favourite records (this week)
• Rituals (1981) by Bush Tetras | Ballet For A Blue Whale (1983) by Adrian Belew | Etna (2006) by Boris & Sunn O)))