Götz Kluge's photos

This print shows the HMS Beagle laid ashore at Tierra del Fuego, Santa Cruz river, 50.1125°S and 68.3917°W, 1834-04-16. The etching is based on a drawing by Conrad Martens and has been published in Francis Darwin, "Life and Letters of Charles Darwin", p. 160, 1888. Conrad Martens’ drawing had been engraved already in 1838 by Thomas Landseer and published by H. Colburn in "The Narrative of the Surveying Voyages of HMS Adventure and Beagle". There is a little Easter egg in the image, but you don't have to wait until Easter to frame it nicely and give it away as a Christmas present to family & friends: The image is an assemblage of two Victorian prints: I took the liberty to add two persons (drawn by Henry Holiday and cut by Joseph Swain in Lewis Carroll’s "The Hunting of the Snark", 1876) to the image. But I didn’t touch the vessel. The resolution already is quite high. In snrk.de/page_snarked-beagle you can find a vectorized version of my assemblage for large posters.

My Snark Firefox theme. See also: snrk.de/firefox-snark-theme

Knight Letter (ISSN 0193-886X) of the LCSNA (Lewis Carroll Society of North America), Fall 2017, № 99 Details: snrk.de/knight-letter-links/kl-fall2017

Knight Letter (ISSN 0193-886X) of the LCSNA (Lewis Carroll Society of North America), Spring 2018, № 100 Details: snrk.de/knight-letter-100

Link: snrk.de/face-it Keywords: Matthias Grünewald, Isenheim Altarpiece

Lewis Carroll, hidden in one of Henry Holiday's illustrations to Lewis Carroll's The Hunting of the Snark

The Baker's Uncle Henry Holiday's illustration in Lewis Carroll's poem: www.snrk.de/snarkhunt/#209 Source for Yoda: en.wikipedia.org/wiki/File:Yoda_Empire_Strikes_Back.png

Detail from www.getty.edu/art/collection/objects/1502/simon-marmion-and-david-aubert-les-visions-du-chevalier-tondal-franco-flemish-1475 Color to grey conversion: GIMP 2.9.3 Desaturate -> Color to Grey tool "uses envelopes formed with the STRESS aproach used perform local color-difference preserving local greyscale generation" # GIMP yes tool settings (time 0) (radius 300) (samples 4) (iterations 10) # end of yes tool settings --------------------------------------------- Title of the source painting: Les Visions du chevalier Tondal Artist/Maker: Simon Marmion (Flemish, active 1450 - 1489) and David Aubert (Flemish, active 1453 - 1479) Culture: Franco-Flemish Place: Ghent Belgium Valenciennes France (Place created) Date: 1475 Medium: Tempera colors, gold leaf, gold paint, and ink on parchment tipped into a binding of wood boards covered with brown calf Dimensions: Leaf: 36.3 × 26.2 cm (14 5/16 × 10 5/16 in.)

Detail from Les Visions du chevalier Tondal (1475) (Conversions: mirror view, grey to color) Simon Marmion (Flemish, active 1450 - 1489) and David Aubert (Flemish, active 1453 - 1479) · Compare to: and to: and to: www.snrk.de · ===================================================================== Data of top image: Detail from: www.getty.edu/art/collection/objects/1502/simon-marmion-and-david-aubert-les-visions-du-chevalier-tondal-franco-flemish-1475 Conversions: cropped detail, mirror view, grey two color --------------------------------------------- Title: Les Visions du chevalier Tondal Artist/Maker: Simon Marmion (Flemish, active 1450 - 1489) and David Aubert (Flemish, active 1453 - 1479) Culture: Franco-Flemish Place: Ghent Belgium Valenciennes France (Place created) Date: 1475 Medium: Tempera colors, gold leaf, gold paint, and ink on parchment tipped into a binding of wood boards covered with brown calf Dimensions: Leaf: 36.3 × 26.2 cm (14 5/16 × 10 5/16 in.) ------------------------------------ Color to grey conversion: GIMP 2.9.3 Desaturate -> Color to Grey tool "uses envelopes formed with the STRESS aproach used perform local color-difference preserving local greyscale generation" # GIMP yes tool settings (time 0) (radius 300) (samples 4) (iterations 10) # end of yes tool settings

[left]: Detail from Henry Holiday 's depiction of the Baker's 42 boxes in an illustration (engraved by Joseph Swain) to Lewis Carroll's The Hunting of the Snark . [right]: Anonymous : Detail from the painting Edward VI and the Pope, An Allegory of Reformation , mirrored view (16th century). Iconoclasm depicted in a window-like inset. Under the inset sits Thomas Cranmer (not visible in this detail) 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).

Letter by C.L. Dodgson (aka Lewis Carroll) to Henry Holiday. The two lines at the bottom are by Henry Holiday. Source: www.pbagalleries.com/images/lot/1859/185970_0.jpg in www.pbagalleries.com/view-auctions/catalog/id/384/lot/119222/Original-drawing-by-Lewis-Carroll-in-illustration-of-The-Hunting-of-the-Snark-and-an-autograph-letter-from-him-to-the-book-s-illustrator-critiquing-his-designs-bound-into-a-copy-of-the-book "... The letter, dated Jan. 4, 1876, highlights Carroll’s and Holiday’s different artistic vision for the book, and critiques Holiday’s illustrations for the work both generally and in particular ..." Snapshot 2016-05-26 Processed (GIMP): high pass filtering and contrast enhancement The note is: «L.C. forgot that "the Snark" is a tragedy and [should] on no account be made jovial. h.h.»

--> www.ipernity.com/doc/goetzkluge/41786012

See also: www.academia.edu/9918883/Thomas_Cranmers_42_Boxes The upper left image is a detail lfrom a print (c. 1630) which shows the burning of Thomas Cranmer. The lower left is a +135° rotated detail from Henry Holiday's illustration (large image on the right side) to the final chapter The Vanishing in Lewis Carroll's The Hunting of the Snark . In The annotated ... Snark , Martin Gardner wrote about Henry Holiday's illustration to the last chapter of Carroll's The Hunting of the Snark : "Thousands of readers must have glanced at this drawing without noticing (though they may have shivered with subliminal perception) the huge, almost transparent head of the Baker, abject terror on his features, as a giant beak (or is it a claw?) seizes his wrist." I think, there is neither a beak nor a claw. About The Baker : · · · · 021 · · There was one who was famed for the number of things · · · · 022 · · · · He forgot when he entered the ship: · · · · 023 · · His umbrella, his watch, all his jewels and rings, · · · · 024 · · · · And the clothes he had bought for the trip. · · · · 025 · · He had forty-two boxes , all carefully packed, · · · · 026 · · · · With his name painted clearly on each: · · · · 027 · · But, since he omitted to mention the fact, · · · · 028 · · · · They were all left behind on the beach. · · · · 029 · · The loss of his clothes hardly mattered, because · · · · 030 · · · · He had seven coats on when he came, · · · · 031 · · With three pairs of boots --but the worst of it was, · · · · 032 · · · · He had wholly forgotten his name. · · · · 033 · · He would answer to "Hi!" or to any loud cry, · · · · 034 · · · · Such as " Fry me! " or " Fritter my wig! " · · · · 035 · · To "What-you-may-call-um!" or "What-was-his-name!" · · · · 036 · · · · But especially "Thing-um-a-jig!" · · · · 037 · · While, for those who preferred a more forcible word, · · · · 038 · · · · He had different names from these: · · · · 039 · · His intimate friends called him " Candle-ends ," · · · · 040 · · · · And his enemies " Toasted-cheese ." · · · · 041 · · "His form is ungainly--his intellect small--" · · · · 042 · · · · (So the Bellman would often remark) · · · · 043 · · "But his courage is perfect! And that, after all, · · · · 044 · · · · Is the thing that one needs with a Snark." · · · · 045 · · He would joke with hyenas, returning their stare · · · · 046 · · · · With an impudent wag of the head : · · · · 047 · · And he once went a walk, paw-in-paw, with a bear , · · · · 048 · · · · "Just to keep up its spirits," he said. · · · · 049 · · He came as a Baker: but owned, when too late-- · · · · 050 · · · · And it drove the poor Bellman half-mad-- · · · · 051 · · He could only bake Bridecake--for which, I may state, · · · · 052 · · · · No materials were to be had. That is, there were no brides in the crew. Sources: www.ipernity.com/doc/goetzkluge/19289289 www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3066133&partId=1&people=122781&peoA=122781-1-9&page=1 luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~810509~152457:Faiths-victorie-in-Romes-crueltie--

Depiction (c. 1630) ot Thomas Cranmer's burning. See also from "The Hunting of the Snark" by Lewis Carroll and Henry Holiday:

· See also: www.academia.edu/9918883/Thomas_Cranmers_42_Boxes The upper left image is a detail lfrom a print (c. 1630) which shows the burning of Thomas Cranmer. The lower left is a +135° rotated detail from Henry Holiday's illustration (large image on the right side) to the final chapter The Vanishing in Lewis Carroll's The Hunting of the Snark , In The annotated ... Snark , Martin Gardner wrote about Henry Holiday's illustration to the last chapter of Carroll's The Hunting of the Snark : "Thousands of readers must have glanced at this drawing without noticing (though they may have shivered with subliminal perception) the huge, almost transparent head of the Baker, abject terror on his features, as a giant beak (or is it a claw?) seizes his wrist." I think, there is neither a beak nor a claw. About The Baker : · · · · 021 · · There was one who was famed for the number of things · · · · 022 · · · · He forgot when he entered the ship: · · · · 023 · · His umbrella, his watch, all his jewels and rings, · · · · 024 · · · · And the clothes he had bought for the trip. · · · · 025 · · He had forty-two boxes , all carefully packed, · · · · 026 · · · · With his name painted clearly on each: · · · · 027 · · But, since he omitted to mention the fact, · · · · 028 · · · · They were all left behind on the beach. · · · · 029 · · The loss of his clothes hardly mattered, because · · · · 030 · · · · He had seven coats on when he came, · · · · 031 · · With three pairs of boots --but the worst of it was, · · · · 032 · · · · He had wholly forgotten his name. · · · · 033 · · He would answer to "Hi!" or to any loud cry, · · · · 034 · · · · Such as " Fry me! " or " Fritter my wig! " · · · · 035 · · To "What-you-may-call-um!" or "What-was-his-name!" · · · · 036 · · · · But especially "Thing-um-a-jig!" · · · · 037 · · While, for those who preferred a more forcible word, · · · · 038 · · · · He had different names from these: · · · · 039 · · His intimate friends called him " Candle-ends ," · · · · 040 · · · · And his enemies " Toasted-cheese ." · · · · 041 · · "His form is ungainly--his intellect small--" · · · · 042 · · · · (So the Bellman would often remark) · · · · 043 · · "But his courage is perfect! And that, after all, · · · · 044 · · · · Is the thing that one needs with a Snark." · · · · 045 · · He would joke with hyenas, returning their stare · · · · 046 · · · · With an impudent wag of the head : · · · · 047 · · And he once went a walk, paw-in-paw, with a bear , · · · · 048 · · · · "Just to keep up its spirits," he said. · · · · 049 · · He came as a Baker: but owned, when too late-- · · · · 050 · · · · And it drove the poor Bellman half-mad-- · · · · 051 · · He could only bake Bridecake--for which, I may state, · · · · 052 · · · · No materials were to be had. That is, there were no brides in the crew. Sources: www.ipernity.com/doc/goetzkluge/19289289 www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=3066133&partId=1&people=122781&peoA=122781-1-9&page=1 luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~810509~152457:Faiths-victorie-in-Romes-crueltie--

Bart Johnson - L.A. Woman (2015) 220mm×308mm Ink on paper (I acquired the artwork.)

I used this small image in a comment to publicdomainreview.org/collections/the-art-of-hidden-faces-anthropomorphic-landscapes Antropomorphism isn't about faces only. Actually, humans have two pairs of cheeks. One pair of these cheeks is part of our faces. The other pair of cheeks is elswhere on our bodies. (If sitters are sitters, you don't see that pair too well.) In the example below from one of Henry Holiday's illustration to Lewis Carroll's "The Hunting of the Snark" (engraved by Joseph Swain) , Holiday wasn't inspired by John Martin's "The Bard" only. He also altered his allusion to that painting by giving the rocks the shape of our lower second pair of cheeks. And he also copied a small pattern from Martin's painting which doesn't contribute to the appearance of his illustration. Thus, this pattern simply may serve as a hint to the beholders of his Snark illustration that Holiday didn't steal anything from John Martin. Henry Holiday was an honest conundrum builder. Did you find the antropomorphic "cheeks" on the rocks in the detail from Henry Holiday's illustration, which I mounted as an inset into John Martin's "The Bard"?