![\"vonholten1.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2024\/01\/vonholten1.jpg\")
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More Maldoror<\/em>, and more collage, this time from Swedish artist and art historian Ragnar von Holten (1934\u20132009). The Historical Dictionary of Surrealism<\/em> describes von Holten as a Gustave Moreau enthusiast who first contacted the Paris Surrealists in 1960 when he was organising a retrospective of Moreau’s work at the Louvre. Andr\u00e9 Breton had long been a champion of Moreau, especially in the decades when the artist was out of fashion, and wrote a preface for von Holten’s L’Art Fantastique Gustave Moreau<\/em>. One of the many things I like about the Surrealists is the continuity they provide with the history of fantastic and visionary art.<\/p>\n Von Holten’s Maldoror<\/em> collages were begun in the late 1960s and completed in 1972 when they were published in a Swedish edition of the novel. I don’t know how many illustrations there were in all but you can see more at the Moderna Museet website<\/a>. Not all the collages are labelled as being derived from Maldoror<\/em> but many of the titles refer to the text all the same. Also there are two drawings intended as vignettes, one of which depicts in a rather literal fashion Lautr\u00e9amont’s most popular metaphor<\/a>.<\/p>\n Elsewhere on { feuilleton } Previously on { feuilleton } More Maldoror, and more collage, this time from Swedish artist and art historian Ragnar von Holten (1934\u20132009). The Historical Dictionary of Surrealism describes von Holten as a Gustave Moreau enthusiast who first contacted the Paris Surrealists in 1960 when he was organising a retrospective of Moreau’s work at the Louvre. Andr\u00e9 Breton had long been … Continue reading “Ragnar von Holten’s Maldoror”<\/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":[2,42,1029,48,18],"tags":[350,10661,347,4046,13266],"class_list":["post-23910","post","type-post","status-publish","format-standard","hentry","category-art","category-books","category-collage","category-illustrators","category-surrealism","tag-andre-breton","tag-comte-de-lautreamont","tag-gustave-moreau","tag-maldoror","tag-ragnar-von-holten"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-6dE","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/23910","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=23910"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/23910\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=23910"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=23910"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=23910"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"vonholten2.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2024\/01\/vonholten2.jpg\")
<\/p>\n![\"vonholten3.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2024\/01\/vonholten3.jpg\")
<\/p>\n![\"vonholten4.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2024\/01\/vonholten4.jpg\")
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\n\u2022 The Surrealism archive<\/a><\/p>\n
\n\u2022 Harry O. Morris’s Maldoror<\/a>
\n\u2022 Covering Maldoror<\/a>
\n\u2022 Kenneth Anger\u2019s Maldoror<\/a>
\n\u2022 Chance encounters on the dissecting table<\/a>
\n\u2022 Santiago Caruso\u2019s Maldoror<\/a>
\n\u2022 Jacques Houplain\u2019s Maldoror<\/a>
\n\u2022 Hans Bellmer\u2019s Maldoror<\/a>
\n\u2022 Les Chants de Maldoror by Shuji Terayama<\/a>
\n\u2022 Polypodes<\/a>
\n\u2022 Ulysses versus Maldoror<\/a>
\n\u2022 Maldoror<\/a>
\n\u2022 Books of blood<\/a>
\n\u2022 Magritte\u2019s Maldoror<\/a>
\n\u2022 Frans De Geetere\u2019s illustrated Maldoror<\/a>
\n\u2022 Maldoror illustrated<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"