Valentine Hugo – { feuilleton }

Weekend links 840

The Toad of Maldoror (1932) by Valentine Hugo.

• Old music: Thank You America (John Robie Dub Mix) by Cabaret Voltaire. Code, the group’s 1987 debut for the Parlophone label, receives an overdue reissue later this year with a substantial collection of remixes.

• At Lesser-Known Writers: Douglas A. Anderson examines the career of Hal Garrott, a writer whose novels for children feature fine illustrations by Dugald Stewart Walker and Mary-Ponton Gardner.

• The August catalogue of lots for the After Dark: Gay Art and Culture online auction. Homoerotic art, photos, historic porn, etc.

• Mixes of the week: The Invisible Collage Vol. 1, and Robert Aiki Aubrey Lowe’s Invisible Jukebox Mix at The Wire.

• New music: Modulisme Session 144. Lightning Field 01. Constraint by Philippe Petit, and Signal Loss by Paul Beaudoin.

• At Colossal: Los Angeles Public Library unveils the world’s largest pop-Up book.

• At the BFI: Craig Ian Mann selects 10 great East German films.

• At Dennis Cooper’s it’s Ed Emshwiller’s Day.

• Signaux Codes Non Identifiés (1978) by Michel Magne | Code Rays (Codex Dub) (1995) by Main | Codes (Encryption And Decryption) (2025) by Andrew Heath

Valentine Hugo’s Contes Bizarres

Looking around at the weekend for drawings by Valentine Hugo (1887–1968), I was reminded of a defunct bookselling blog which hosts scans of the illustrations that Hugo created in 1933 for Contes Bizarres, a collection of stories by Achim von Arnim (1781–1831). I posted a link to this place in the past but since neglected sites have a tendency to abruptly vanish I thought it worth bumping the illustrations into the future here. Valentine Hugo never seems to receive the same attention as the other well-known women Surrealists despite her evident talent and closer connections to the original Surrealist group than those who came later. Her careful renderings are easy to recognise, often done with pastel or crayon on textured black paper or card. This edition of Contes Bizarres was a collection of translations by Théophile Gautier with an introduction by André Breton which suggests the stories are bizarres enough to be considered Surrealist precursors. Not having read any of them I can’t say much about them but Max Ernst counted von Arnim among his favourites poets. André Breton, meanwhile, favoured German Romanticism enough to make Novalis the Magus of Flames in the Jeu de Marseilles card deck but Achim von Arnim is one such writer who still seems to be more popular in France than he is in the Anglosphere. Valentine Hugo apparently illustrated an edition of Les Chants de Maldoror around the same time as Contes Bizarres. If this is the case I’ve yet to see the illustrations anywhere.

Elsewhere on { feuilleton }
• The illustrators archive
• The Surrealism archive

Previously on { feuilleton }
• Max Ernst’s favourites

Weekend links 715

Portrait d’Arthur Rimbaud (1933) by Valentine Hugo.

• Among the new titles at Standard Ebooks, the home of free, high-quality, public-domain texts: At the Mountains of Madness by HP Lovecraft.

• Retro-Forteana is “Andrew May’s Forteana Blog, focusing on the weirder fringes of history (and other old-fashioned stuff)”.

• Mixes of the week Bill Laswell Mix No. 7: The Return of Celluloid by Voice of Cassandre, and Isolatedmix 126 by Saphileaum.

• At Bajo el Signo de Libra: The second part of a look at photographs by Herbert List of Italians and Italian life.

• New music: Worship: Bernard Herrmann Tribute by The Lord, and Cursory Asperses by Celer.

• At Wormwoodiana: Mark Valentine on the joy of obscure journals.

• At Dennis Cooper’s: Paul Clipson Day.

• Persher’s favourite music.

• At The Mountains Of Madness (1968) by HP Lovecraft | Mountains Of The Moon (2002) by Jah Wobble And Temple Of Sound | Mountains Crave (2012) by Anna von Hausswolff

The exquisite corpse will drink the new wine

From One Dough (1996) by Martin Stejskal, Jan Švankmajer, Eva Švankmajerová.

From A Dictionary of Surrealism by José Pierre (Eyre Methuen, 1974):

Exquisite corpse. The most famous of the surrealist games takes its name from the opening sentence that materialized: “Le cadavre—exquis—boira—le vin—nouveau” (1925) (The exquisite corpse—will drink—the new wine). It was produced by five players writing in turn subject, adjective, verb, object, complement, each folding over the paper so that the next player could not see what had been already written. The violent whiff of strangeness and the droll effects obtained by these verbal collages reappeared in the drawn “exquisite corpses” in which Surrealist poets and painters often combined. Despite the fact that each contribution—especially in the case of painters—is relatively identifiable, the total effect (mostly in the form of a “personage”) results from the combined elements. In this, the “exquisite corpse” can claim to have scored a victory for collective invention over individual invention and over the “signature”.

Nude (1926–27) by Yves Tanguy, Joan Miró, Max Morise, Man Ray.

Exquisite Corpse (1927) by André Masson, Max Ernst, Max Morise.

Exquisite Corpse (1928) by Man Ray, André Breton, Yves Tanguy, and Max Morise.

Exquisite Corpse (1928) by Man Ray, Max Morise, André Breton, Yves Tanguy.

Continue reading “The exquisite corpse will drink the new wine”

The weekend artists, 2015

Fathomless Sounding (1932) by Gertrude Hermes.

This should have been the last post of the year but Ken Murphy’s film made a more fitting end. This is still the laziest post of the year, however, being a review of the artists/designers/photographers from 50 or so weekend posts. Scroll down to see what caught my attention over the past twelve months.

Untitled drawing by Jean Gourmelin.

Cover by Valentine Hugo for Contes Bizarres (1933) by Achim d’Arnim. See Hugo’s interior illustrations here.

Continue reading “The weekend artists, 2015”