{"id":18542,"date":"2017-11-30T02:04:00","date_gmt":"2017-11-30T01:04:00","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=18542"},"modified":"2020-07-26T02:49:34","modified_gmt":"2020-07-26T01:49:34","slug":"narraciones-extraordinarias-by-edgar-allan-poe","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2017\/11\/30\/narraciones-extraordinarias-by-edgar-allan-poe\/","title":{"rendered":"Narraciones extraordinarias by Edgar Allan Poe"},"content":{"rendered":"

\"poe01.jpg\"<\/p>\n

Berenice.<\/em><\/p>\n

Narraciones extraordinarias<\/em> was the first commission that arrived from Spanish publisher Editorial Alma earlier this year but it’s the second one to be revealed here. (Copies of the pictures at a larger size may be seen on the main website<\/a>.) I confess I was rather dismayed when the request came through for this. I was pleased to have the opportunity to illustrate so many stories but Edgar Allan Poe is a tough brief when Harry Clarke<\/a> has already created the definitive set of illustrations. The challenge, then, became one of trying to successfully illustrate the stories without repeating anything by Clarke or the many other illustrators who’ve tackled Poe, not least my favourite collagist, Wilfried S\u00e4tty<\/a>.<\/p>\n

\"poe02.jpg\"<\/p>\n

Morella.<\/em><\/p>\n

One advantage of the collection was the inclusion of several pieces that you seldom find in the common English reprints of Poe, stories such as A Tale of the Ragged Mountains<\/em>. The style is S\u00e4tty-esque, of course, although less surreal in approach thanks to the flexibility of digital tools. I’ve been developing this engraving collage style over the past year or so to create a hybrid that blends drawn and collaged material into a seamless whole. When this works, as with The Man in the Crowd<\/em> (below), you shouldn’t be able to easily tell which elements are drawn and which collaged. (And more importantly, it shouldn’t really matter.) This technique has been developed further in the most recent work I’ve done for Editorial Alma but you’ll have to wait a while to see the results.<\/p>\n

\"poe03.jpg\"<\/p>\n

Ligeia.<\/em><\/p>\n

Despite my initial misgivings, this job worked out better than I expected, not least because the deadline was so tight. Several of these pictures were created in a day, a work-rate common to many comic artists but not one that I’m used to (or happy with) at all. I’m still unhappy with MS. Found in a Bottle<\/em> which lazily swiped a chunk of a Gustave Dor\u00e9 illustration; if I’d had the time I would have changed it, and if this series of pictures is ever reprinted that’s one I’ll be reworking.<\/p>\n

As before, this is a Spanish-language hardback, and the only purchase link I have is an Amazon one<\/a>. My next contribution to this series should be out early next year.<\/p>\n

\"poe04.jpg\"<\/p>\n

The Fall of the House of Usher.<\/em><\/p>\n

<\/p>\n

\"poe05.jpg\"<\/p>\n

William Wilson.<\/em><\/p>\n

\"poe06.jpg\"<\/p>\n

The Murders in the Rue Morgue.<\/em><\/p>\n

\"poe07.jpg\"<\/p>\n

The Mystery of Marie Rog\u00eat.<\/em><\/p>\n

\"poe08.jpg\"<\/p>\n

Descent into the Maelstrom.<\/em><\/p>\n

\"poe09.jpg\"<\/p>\n

The Gold Bug.<\/em><\/p>\n

\"poe10.jpg\"<\/p>\n

The Cask of Amontillado.<\/em><\/p>\n

\"poe11.jpg\"<\/p>\n

The Premature Burial.<\/em><\/p>\n

\"poe12.jpg\"<\/p>\n

The Man of the Crowd.<\/em><\/p>\n

\"poe13.jpg\"<\/p>\n

The Imp of the Perverse.<\/em><\/p>\n

\"poe14.jpg\"<\/p>\n

The Tell-Tale Heart.<\/em><\/p>\n

\"poe15.jpg\"<\/p>\n

The Pit and the Pendulum.<\/em><\/p>\n

\"poe16.jpg\"<\/p>\n

The Masque of the Red Death.<\/em><\/p>\n

\"poe17.jpg\"<\/p>\n

King Pest.<\/em><\/p>\n

\"poe18.jpg\"<\/p>\n

The Colloquy of Monos and Una.<\/em><\/p>\n

\"poe19.jpg\"<\/p>\n

Shadow\u2014A Parable.<\/em><\/p>\n

\"poe20.jpg\"<\/p>\n

Silence\u2014A Fable.<\/em><\/p>\n

\"poe21.jpg\"<\/p>\n

The Oval Portrait.<\/em><\/p>\n

\"poe22.jpg\"<\/p>\n

Eleonora.<\/em><\/p>\n

\"poe23.jpg\"<\/p>\n

MS. Found in a Bottle.<\/em><\/p>\n

\"poe24.jpg\"<\/p>\n

Metzengerstein.<\/em><\/p>\n

\"poe25.jpg\"<\/p>\n

The Spectacles.<\/em><\/p>\n

\"poe26.jpg\"<\/p>\n

The Purloined Letter.<\/em><\/p>\n

\"poe27.jpg\"<\/p>\n

A Tale of the Ragged Mountains.<\/em><\/p>\n

\"poe28.jpg\"<\/p>\n

The Facts in the Case of M. Valdemar.<\/em><\/p>\n

\"poe29.jpg\"<\/p>\n

The Assignation.<\/em><\/p>\n

\"poe30.jpg\"<\/p>\n

The Oblong Box.<\/em><\/p>\n

\"poe31.jpg\"<\/p>\n

The Sphinx.<\/em><\/p>\n

\"poe32.jpg\"<\/p>\n

The Black Cat.<\/em><\/p>\n

\"poe33.jpg\"<\/p>\n

The Raven.<\/em><\/p>\n

Previously on { feuilleton }
\n\u2022 Fritz Eichenberg\u2019s illustrated Poe<\/a>
\n\u2022 The Pendulum, the Pit and Hope<\/a>
\n\u2022 Hugo Steiner-Prag\u2019s illustrated Poe<\/a>
\n\u2022 Burt Shonberg\u2019s Poe paintings<\/a>
\n\u2022 Illustrating Poe #5: Among the others<\/a>
\n\u2022 Illustrating Poe #4: Wilfried S\u00e4tty<\/a>
\n\u2022 Illustrating Poe #3: Harry Clarke<\/a>
\n\u2022 Illustrating Poe #2: William Heath Robinson<\/a>
\n\u2022 Illustrating Poe #1: Aubrey Beardsley<\/a>
\n\u2022 Poe at 200<\/a>
\n\u2022 The Tell-Tale Heart from UPA<\/a>
\n\u2022 William Heath Robinson\u2019s illustrated Poe<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Berenice. Narraciones extraordinarias was the first commission that arrived from Spanish publisher Editorial Alma earlier this year but it’s the second one to be revealed here. (Copies of the pictures at a larger size may be seen on the main website.) I confess I was rather dismayed when the request came through for this. I … Continue reading “Narraciones extraordinarias by Edgar Allan Poe”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,30,42,1029,22,23],"tags":[93,9211,593,99,102],"class_list":["post-18542","post","type-post","status-publish","format-standard","hentry","category-art","category-black-white","category-books","category-collage","category-horror","category-work","tag-edgar-allan-poe","tag-editorial-alma","tag-gustave-dore","tag-harry-clarke","tag-wilfried-satty"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4P4","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/18542","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=18542"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/18542\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=18542"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=18542"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=18542"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}