The weekend artists

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Flower Me Gently (2010) by Linn Olofsdotter.

Yes, this is one of those lazy end-of-year retrospectives, a look back at all the artists whose work was highlighted in the weekend posts for 2011. Thanks to BibliOdyssey, Form is Void and 50 Watts for so often pointing the way.

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Blasphemous Rumours (2009/2010) by Ryan Martin. The artist now has a dedicated site for his paintings.

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DG-2499 (1975) by the fantastic (in every sense of the word) Zdzislaw Beksinski (1929–2005). See the Dmochowski Gallery for a comprehensive collection of the artist’s work.

Continue reading “The weekend artists”

Weekend links 86

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Salammbô by Alastair (Hans Henning Voigt) from Harry Crosby‘s Red Skeletons (1927). Dover published a new collection of Alastair’s drawings in September.

A Taste of Honey showed working-class women from a working-class woman’s point of view, had a gay man as a central and sympathetic figure, and a black character who was neither idealised nor a racial stereotype.” RIP Shelagh Delaney. Related: Shelagh Delaney’s Salford (1960), directed by Ken Russell, and all 47 minutes (!) of The White Bus (1967), Lindsay Anderson’s strange, pre-If…. short, written by Shelagh Delaney, filmed in and around Manchester.

Since birth I’ve craved all things psychedelic, the energy and beauty of it. The pleasure… […] But in the US the exploration of consciousness and its powers—or really any curiosity about anything at all—is actively discouraged, because the system is so corrupt that it depends on people being virtually unconscious all the time. Burroughs cracked that code long ago. Spirituality here equals money; no one seems to be able to think, never mind explore their own consciousness.

Laurie Weeks: Making Magic Out of the Real

• Ian Albinson shows us The Title Design of Saul Bass while Ace Jet 170 has a copy of the new Bass monograph.

Kris Kool (1970) at 50 Watts, Philip Caza’s lurid, erotic, psychedelic comic strip.

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Götz Krafft by EM Lilien from a collection at Flickr.

Serious Listeners: The Strange and Frightening World of Coil.

The Octopus Chronicles, a new blog at Scientific American.

• We now live in a world where there are Ghost Box badges.

Kilian Eng interviewed at Sci-Fi-O-Rama.

Dalí Planet

Bedabbled!

A Taste of Honey (1962) by Acker Bilk | A Taste of Honey (1965) by Herb Alpert’s Tijuana Brass | A Taste of Honey (Moog version) (1969) by Martin Denny.

Alastair’s Carmen

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“The artist at home” from Alastair: Illustrator of Decadence (1979) by Victor Arwas.

More Beardsley derivations in the form of some illustrations by Hans Henning Voigt (1887–1969), better known as Alastair, and an artist who more than anyone carried the Beardsley style and the fin de siècle ethos into the 20th century. If the photograph above is anything to go by he seemed to take Beardsley’s effete and languid characters as role models for an equally effete and languid manner.

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The drawings here are a selection from twelve pieces for a 1920 edition of Prosper Mérimée’s Carmen, the novel upon which Bizet based his opera. Alastair for me has always been an artist whose enthusiasm for his subject matter outpaced his technique, his figure drawing can be rather weak at times which perhaps explains some of his more eccentric costume designs. Every so often the weakness becomes a virtue when it provides a surprising composition. Carmen didn’t seem to inspire him as much as other works, his illustrations for Oscar Wilde’s Salomé are a lot better and I may post some of them here if I can find a way of scanning my Victor Arwas book without spoiling it. There still isn’t much else of his work on the web but S. Elizabeth did make a start recently with her post A Decadent Parade of Outrageous Fancies at Coilhouse.

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Continue reading “Alastair’s Carmen”

The art of Karel de Nerée tot Babberich, 1880–1909

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Judith (no date).

Another Decadent type who died young, de Nerée was a Dutch artist and illustrator whose work in these pictures owes a great deal to Aubrey Beardsley. As Beardsley-influenced pieces go they’re rather crude, although it’s unfair to be too judgemental since there’s so little of his work available to see online. Following yesterday’s post, it’s inevitable that he produced a Salomé picture of his own but there’s no sign of that, the curiously space-age (or alien) Judith above is the closest you’ll get.

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Introduction to Extaze (1900-01).

On the strength of these drawings I’d probably have de Nerée down as a post-Beardsley pasticheur similar to Alastair (aka Hans Henning Voigt) but there’s another side to his output evident in his painted works which show a far more assured Symbolist style, with a figurative approach closer to another Dutch artist of the period, Jan Toorop. It’s a shame the photos there are little more than snapshots, I’d like to see more of these. The Wikipedia article has a couple more drawings, and there’s another Beardsley-esque piece here.

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La musique (1904).

Elsewhere on { feuilleton }
The illustrator’s archive

Previously on { feuilleton }
More decorated books from the Netherlands

Weekend links 14

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A drawing by Eric Fraser from the Radio Times, 1947. From this Flickr set.

• I helped put together the design for the Pursuit Grooves album recently. FACT magazine interviewed Vanese Smith about her work.

• One of the books whose interiors I designed last year for Tachyon was The Secret History of Science Fiction, a story collection edited by James Patrick Kelly and John Kessel. (And a book which I’ve yet to add to my web pages, I’m still behind with updates.) The LA Times has a piece about the anthology here, focusing on the Don DeLillo contribution, Human Moments in World War III.

• It’s been another week of Facebook hate; being a self-satisfied refusenik I can’t help but find this amusing. Too many good pieces to list but Gizmodo had more reasons why you should still quit Facebook, Jason Calacanis gathered lots of links to other stories on his blog while social media expert Danah Boyd got to the heart of the matter with a very cogent polemic.

• If you want an alternative to Facebook, Diaspora is “the privacy aware, personally controlled, do-it-all distributed open source social network”.

• David Toop has a new book out next month. “Sinister Resonance begins with the premise that sound is a haunting, a ghost, a presence whose location is ambiguous and whose existence is transitory. The intangibility of sound is uncanny – a phenomenal presence in the head, at its point of source and all around. The close listener is like a medium who draws out substance from that which is not entirely there.”

• Coilhouse looks at the late Decadent artist and designer Hans Henning Voigt (1887–1969), better known as Alastair.

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come, been and gone.

• “After a sold out season at the Barbican in 2009 Michael Clark Company returns with the next instalment of his critically acclaimed production made primarily to the music of David Bowie. come, been and gone also embraces the work of Bowie’s key collaborators: Lou Reed , Iggy Pop , Brian Eno and touches on some of his influences; The Velvet Underground , Kraftwerk and Nina Simone……This production contains loud music and graphic images.” I should hope so.

• “Why should boys always be boys, and girls always be girls?” Brutal/Beautiful, photography by Austin Green.

• John Foxx, Iain Sinclair and others appear at Short Circuit 2010 next month.

Black, Brown, and Beige: Duke Ellington’s music and race in America.

Jane Siberry has made all her albums available as free downloads.

Ruth Bayer photographs people after they’ve inhaled poppers.

Swiss artist catalogues mutant insects around nuclear plants.

Pompeii’s X-rated art will titillate a new generation.

The Happy, Haunted Island of Poveglia, Venice.

The Art of American Book Covers, a blog.

Kanellos, the Greek protest dog.

• Song of the week: Twiggy Twiggy (1994) by Pizzicato Five.