Götz Kluge's photos with the keyword: hidden face

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

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

513 · · He was black in the face, and they scarcely could trace 514 · · · · The least likeness to what he had been: 515 · · While so great was his fright that his waistcoat turned white- 516 · · · · A wonderful thing to be seen! This is probably one of the strongest examples for resemblances between graphical elements in Henry Holiday's illustrations (1876, cut by Joseph Swain) and graphical elements in another image. Sometimes Holiday mirrored his pictorial quotes: Here Holiday vertically flipped the "nose" of Gheeraert's "head". I flipped it back. 2011-12-12 2014-02-22 As for the image on the top of this page: [left]: The Banker after his encounter with the Bandersnatch, depicted in Henry Holiday's illustration (woodcut by Joseph Swain for block printing) to the chapter "The Banker's Fate" in Lewis Carroll's "The Hunting of the Snark" (scanned from an 1876 edition of the book) [right]: a redrawn and horizontally compressed and reproduction of "The Image Breakers" (1566-1568) aka "Allegory of Iconoclasm", an etching by Marcus Gheeraerts the Elder (British Museum, Dept. of Print and Drawings, 1933.1.1..3, see also Edward Hodnett: Marcus Gheeraerts the Elder, Utrecht 1971, pp. 25-29). Also I flipped the "nose" vertically. CC BY-NC-ND 3.0 Version, 2000x2000: www.ipernity.com/doc/goetzkluge/36260048

My first comparison related to The Banker (2009). After more than one year I suddenly understood Holiday's nose job:

513 · · He was black in the face, and they scarcely could trace 514 · · · · The least likeness to what he had been: 515 · · While so great was his fright that his waistcoat turned white- 516 · · · · A wonderful thing to be seen! This is probably one of the strongest examples for resemblances between graphical elements in Henry Holiday's illustrations (1876, cut by Joseph Swain) and graphical elements in another image. In this case the images are [left]: The Banker after his encounter with the Bandersnatch , depicted in a segment of Henry Holiday 's illustration to The Banker's Fate in Lewis Carroll's The Hunting of the Snark (scanned from an 1876 edition of the book) and [right]: a horizontally compressed copy of The Image Breakers (1566-1568) aka Allegory of Iconoclasm , an etching by Marcus Gheeraerts the Elder (British Museum, Dept. of Print and Drawings, 1933.1.1..3, see also Edward Hodnett: Marcus Gheeraerts the Elder , Utrecht 1971, pp. 25-29). I mirrored the "nose" about a horizontal axis.

From Pope to Wood Shavings [left]: Rotated segment from John Everett Millais : Christ in the House of His Parents (1850). [center]: As above. Blurred. [right]: Rotated segment from anonymous: Edward VI and the Pope, a Tudor anti-papal allegory of reformation, mirrored view (16th century).

Slowly and silently. [start]: a horizontally compressed copy of The Image Breakers (1566-1568) aka Allegory of Iconoclasm , an etching by Marcus Gheeraerts the Elder (British Museum, Dept. of Print and Drawings, 1933.1.1..3, see also Edward Hodnett: Marcus Gheeraerts the Elder , Utrecht 1971, pp. 25-29). I low-pass-filtered some elements which Holiday used to construct the Banker's spectacles and (segment in left image) mirrored the "nose" about a horizontal axis. [end]: The Banker after his encounter with the Bandersnatch , depicted in a segment of Henry Holiday 's illustration to The Banker's Fate in Lewis Carroll's The Hunting of the Snark (scanned from an 1876 edition of the book) (Also available here: www.youtube.com/watch?v=06X98w0YvEU&hd=1 )

From Pope to Wood Shavings [left]: Rotated segment from John Everett Millais : Christ in the House of His Parents (1850). [right]: Rotated segment from anonymous: Edward VI and the Pope, a Tudor anti-papal allegory of reformation, mirrored view (16th century).

Photographic self portrait by Lewis Carroll, and its inclusion into an illustration by Henry Holiday to Lewis Carroll's The Hunting of the Snark . In the drafts and in Holiday's drawing I didn't see that structure. [top]: Henry Holiday: vectorized segment of an illustration (cut by Joseph Swain) to The Beaver's Lesson in Lewis Carroll's The Hunting of the Snark (1876) [left]: Original detail [center]: Low pass filtered detail [right]: Photographic self portrait by Charles Lutwidge Dodgson (aka Lewis Carroll, May 1875) displayed in mirror view. (Credits for the photo: Watts Gallery, Compton, Guildford) Perhaps Joseph Swain (the cutter) played a bigger role in this allusion&citation game. I think that C. L. Dodgson (Lewis Carroll) knew about Henry Holiday's allusions. There even may have been a cooperation in combining pictorial and textual allusions . But how can we be sure that Carroll/Dodgson knew about the "hidden Carroll" and the provoking simulacrum (based on a fold in the suit) in that picture? This comparison also shows, how low pass filtering (blurring) can help. It removes unimportant details in a similar way as our eye/brain "removes" the single dots in a dithered image. In 2009 I initially used the illustrations in the Snark version of Ebooks Adelaide . Due to their low resolution they were blurred renderings of Holiday's illustrations already. Without the blurring I perhaps would not have noticed the first allusion which I found in December 2008.

In Lewis Carroll's The Hunting of the Snark , the intertextuality of the poem is paralleled by the interpictoriality of Henry Holiday's illustrations: Here Henry Holiday reinterprets Marcus Gheeraerts I+II. The image above shows Henry Holiday's illustration to the chapter The Banker's Fate . (A small part of the left side has been removed in order to achieve a 4:3 ratio. The largest size is 5696 x 4352 pixels.) To Holiday's illustration I added images from which, in my opinion, he had borrowed shapes and concepts: (1) Under the Banker's arm: * Horizontally compressed segment of The Image Breakers (1566-1568) aka Allegory of Iconoclasm , an etching by Marcus Gheeraerts the Elder (British Museum, Dept. of Print and Drawings, 1933.1.1..3, see also Edward Hodnett: Marcus Gheeraerts the Elder, Utrecht 1971, pp. 25-29). I mirrored the "nose" about a horizontal axis (yellow frame). (2) Under the Beaver's paw (mirror views): * [top]: Marcus Gheeraerts the Younger: Catherine Killigrew , Lady Jermyn (1614) * [bottom, mirror view]: Marcus Gheeraerts the Younger: Mary Throckmorton , Lady Scudamore (1615)