Götz Kluge's photos with the keyword: camouflage

[left]: Redrawn segment from one of Henry Holiday's pencil drafts for the depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark . Below the draft you see a segment of the final – and less daring – illustration. [right]: John Everett Millais : Redrawn Segment from Christ in the House of His Parents (1850) depicting Mary (and a part of Christ's face in the upper right corner). Below that segment you see a larger segment from Millais' painting. This example shows how Holiday worked on the construction of his conundrums in his illustrations to Lewis Carroll's The Hunting of the Snark . Even though Holiday copied a face from a face, he reinterprated shapes of face elements from the source face in order to represent different face elements with a resembling shape in the target face. The baker's ear is based on a shape in the depiction of Marie's face which is no ear. The same partially applies to the Baker's nose and the baker's eye. Such kind of pictorial obfuscation should not be a surprise as The Hunting of the Snark is a poem in which readers had been searching textual allusions since 1876. (Too obvuous allusions are too boring.) The focus on textual analysis of the Snark seems to lead us to underestimate Holiday's paralleling Carroll's wordplay with is own means as an graphical artist.

[left]: Vectorized segment from John Everett Millais : Christ in the House of His Parents aka The Carpenter's Shop (1850). Location: Tate Britain (N03584) , London. [right]: Vectorized segment from Philip Galle after Maarten van Heemskerck , Redrawn print Ahasuerus consulting the records (1564). Location: Rijksmuseum, Amsterdam

[left]: Segment (devided) of Henry Holiday 's depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark (engraved by Joseph Swain). Outside of the window are some of the Baker's 42 boxes. [right]: Anonymous : Segment (two times) of Edward VI and the Pope, An Allegory of Reformation , mirrored view (16th century). Iconoclasm depicted in the window. Under the window (see below) is Thomas Cranmer who wrote the 42 Articles in 1552. In The King's Bedpost: Reformation and Iconography in a Tudor Group Portrait (1994, p. 72), the late Margaret Aston compared the iconoclastic scene to prints depicting the destruction of the Tower of Babel (Philip Galle after Maarten van Heemskerck, 1567). From Margaret Aston's book I learned that the section showing the iconoclasm scene is an inset, not a window. Actually, it may have been an inset which was meant to be perceived as a window as well.

[left]: Henry Holiday : Segment from a depictionof the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark (engraved by Joseph Swain). [center]: Doesn't this thumb look more like a piece of cloth rather than like a thumb? [right]: John Everett Millais : Redrawn Segment from Christ in the House of His Parents aka The Carpenter's Shop (1850), presently on display at Tate Britain (N03584) .

[left]: Redrawn segment from one of Henry Holiday's pencil drafts for the depiction of the Baker's visit to his uncle (1876) in Lewis Carroll's The Hunting of the Snark . [right]: John Everett Millais : Redrawn Segment from Christ in the House of His Parents (1850) depicting Mary (and a part of Christ's face in the upper right corner). This example shows how Holiday worked on the construction of his conundrums in his illustrations to Lewis Carroll's The Hunting of the Snark . Even though Holiday copied a face from a face, he reinterprated shapes of face elements from the source face in order to represent different face elements with a resembling shape in the target face. The baker's ear is based on a shape in the depiction of Marie's face which is no ear. The same partially applies to the Baker's nose and the baker's eye. Such kind of pictorial obfuscation should not be a surprise as The Hunting of the Snark is a poem in which readers had been searching textual allusions since 1876. (Too obvuous allusions are too boring. The focus on textual analysis of the Snark seems to lead us to underestimate Holiday's paralleling Carroll's wordplay with is own means as an graphical artist. By the way: In 1882, Alfred Parsons turned the Baker's ear into a part of a chair in Charles Darwin's study at Downe . Holiday quoted and was quoted. Artists like Parsons, Holiday and Millais (see below) do such things and have fun when playing their game. Today Mahendra Singh is maintaining the tradition , in the Snark and beyond the beast. Extended version, Dec. 2014: