Lines and Colors art blog
  • Alice in Wonderland Illustrations

    My old pal, Doc Ozone, has graced us with a nice set of images of Rackham's Alice Illustrations., Sir John Tenniel, Author Rackham
    “…and what is the use of a book,” thought Alice, “without pictures or conversations?”

    I used the quote above, from the first paragraph of Lewis Carroll’s classic and newly popular story, as a preface to the “Dead Tree Edition” of my webcomic, ArgonZark! when it was published in 1997. I felt it was a perfect summation of the appeal of comics and graphic stories, as well as illustrated books in general.

    Though hardly a graphic story in its initial form, the original appeal of Alice’s Adventures in Wonderland (which every proper Victorian child knows is the actual name of the book, emphasis on “adventures”) was deeply intertwined with the beautiful pen and ink drawings of Sir John Tenniel that graced the first printed editions (top two images above), along with the follow-up Through the Looking Glass and What Alice Found There. (The story was first illustrated in manuscript form by Charles Dodson, AKA Lewis Carroll, himself.)

    Those two stories area often mashed together in film, theater and comics adaptations, mixing characters and episodes from the separate stories with abandon. Granted, they are not the most linear or coherent of storylines (grin), but there is a general confusion even about which characters are from which story, and, though I haven’t seen it yet, it looks like Tim Butron’s new action/adventure version (emphasis on “action”) is taking the same license.

    Part of the confusion arises from the fact that subsequent editions often presented both stories in one volume and publishers assigned their own illustrators to illustrate both at the same time.

    There is a long list of illustrators who have taken on illustrating the two stories over time, but few have risen to the challenge of stepping into Tenniel’s large shoes (even after eating their slice of “Eat Me” currant-labeled cake).

    Even noted illustrators of the stature and ability of Jesse Willcox Smith have bowed to Tenniel as the master of Alice illustrations by basically reinterpreting his illustrations in their own. Others, like Maria Kirk, Harry Rountree, Bessie Pease Gutmann, Charles Robinson, A.E. Jackson and Willy Pogany created their own visual interpretation, sometimes beautifully illustrated, but none have the weight and force to shine without being lost in Tenniel’s glare.

    Mervyn Peake did a set of excellent illustrations that were so idiosyncratic as to stand on their own, but lack the charm and enduring appeal of Tenniel’s pen and ink Wonderland.

    Only one other illustrator, to my mind, created a series of illustrations for Alice’s Adventures in Wonderland that can hold their place at the tea party with Tenniel — the great British illustrator Author Rackham (above, bottom two images).

    Rackham has given us a different Wonderland, still simultaneously dark and bright, stylized and grounded in reality, and rendered with undeniable visual charm.

    My old pal Doc Ozone has graced us with a nice set of images of Rackham’s Alice Illustrations.

    There is a reasonably good collection of Tenniel’s Alice illustrations on alice-in-wonderland.net and another here.

    There are inexpensive editions of the Alice books with Tenniel’s beautiful illustrations in which the quality of the images is quite high: Alice’s Adventures in Wonderland and Through the Looking-Glass (Modern Library Classics) and Alice’s Adventures in Wonderland and Through the Looking Glass (Barnes & Noble Classics Trade Paper).

    Unfortunately, the print versions of Rackham’s Alice’s Adventures in Wonderland are out of print, though you can still find them used. (Amazon is muddying the waters now by listing Kindle eBooks in the same searches with real books in an attempt to push the Kindle, so it looks at first glance like there are more editions than exist physically.)

    There are several sources for other Alice Illustrators.

    In addition to the wonderfully extensive list of Illustrators of Alice, with links, on LewisCarroll.org, there is a terrific resource on Alice Illustrators, A-Z by Lauren Harman, in which she posts example images by each illustrator.

    Also, there is a good series of llustrations of Lewis Carroll’s Alice’s Adventures in Wonderland by Artists other then Tenniel, with scans from has own collection by Dave Neal, and a sampling of various Alice illustrators on From Smiler, with Love.

    The lists are long, and there are a number of great illustrators on them, plus you could spend considerable time looking through the work of John Tenniel and Arthur Rackham alone, so I’ll issue my customary Time Sink Warning, and point out that you could be down this particular rabbit hole longer than you intend.


    Tenniel’s Alice illustrations on alice-in-wonderland.net and another here
    Rackham’s Alice Illustrations on Ozones.com
    Illustrators of Alice, linked list on LewisCarroll.org
    Alice Illustrators, A-Z by Lauren Harman
    Alice illustrators other than Tenniel, with illustrations from Dave Neal’s collection
    LewisCarroll.org
    Alice’s Adventures in Wonderland on Wikipedia, with links
    My previous posts on Sir John Tenniel and Arthur Rackham

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  • Nick Pugh (update)

    Nick Pugh
    I wrote about Nick Pugh back in 2006. Pugh is a concept artist and designer for the entertainment industry.

    In addition to his work in feature films, he often does design work for theme park rides and attractions.

    Since my previous post, Pugh has redesigned his web site and added considerable material. You’ll find links to various galleries, including those exploring his interest in concept vehicles, and his fascinating “Liquid Vehicles” ideas (image above, top).

    Pugh is a digital painter, and of particular interest to me were his pieces in the section labeled “Luminair”, a series of digital paintings from life (image above, bottom).

    Digital painting is most commonly associated with paintings of the imaginary and fantastic, making it a common choice of media for concept art, but a number of artists are using it to paint from life (see my post on sparth construct). It’s a practice I sometimes enjoy myself, and find particularly fascinating in that it allows effects and colors unavailable in traditional media.

    Luminair is the title of Pugh’s instructional book on the subject. There are other books either about, or including Pugh’s work in the “Store” section.



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  • 70 Million: art history themed music video by Hold Your Horses

    70 Million by Hold Your Horses
    70 Million is a song by Hold Your Horses, a French-American band, that has been made into a video by L’Ogre Productions in which members of the band (and presumably a few friends) pose in hilarious mock-ups of 25 or 30 famous paintings from the history of Western Art.

    If you get tired of guessing, you can try similarity based image search, or you can just cop out and visit Flavorwire, where Kelsey Keith has put together screen captures from the video with most (but not all) of the referenced paintings.

    Somebody (the video director?) has a sense of humor — and a pretty good grasp of art history.

    [Might be considered mildly NSFW]

    [Via MetaFilter]



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  • Patrick Hughes

    Patrick Hughes
    The work of UK artist Patrick Hughes lends itself to viewing by way of photographs even less than sculpture, which is unsurprising in that it is essentially a combination of painting and sculptural elements.

    Sculpture, to be properly appreciated, must be experienced by moving through the physical space in which it exists, which changes your view of it until multiple views from various angles form a composite, three dimensional image in your mind (see my comments on Bernini).

    Hughes creates paintings that change as you move past them, almost like the illusions created by lenticular displays, but Hugh’s illusions are based on a sound knowledge of perspective, both linear and forced.

    He has created an intriguing method of using reverse forced perspective, painted onto angular three-dimsnsional supports, to allow the images from multiple physical planes to be perceived as a single image, the elements of which change their physical shapes and relationships when the viewer changes position relative to the work.

    To get an idea of how this works, you must view his paintings in videos that change the camera’s position relative to the work, giving you the effect of walking by them. The illusion of unity is so remarkable that video is also the only photographic way you can grasp the dimensionality of the pieces.

    There is a large video here, that starts with a brief exposition by Hughes before showing you the effect, a shorter one on his home page and another by a third party on Flickr that shows his remarkable piece, Paradoxymoron, that is in the basement of the British Library in London, from multiple angles. There is also a video of his accordion-fold “multiples” on his News page.

    Hughes calls the principle “Reverspective“, meaning “…three-dimensional paintings that when viewed from the front initially give the impression of viewing a painted flat surface that shows a perspective view”. He even has scientific papers on the effect and a discussion of the perspective principles on which it is based.

    The above images only hint at the process. View the video to see the effect.

    Hughes’ paintings often make wry reference to other artists’ work.

    [Via Digg]



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  • Robert McCall 1919-2010

    Robert McCall
    Robert McCall, the pioneering space artist who helped chronicle the NASA space program through some of its greatest triumphs, as well as open our eyes to the imagined possibilities of mankind’s future in space, died last Friday, February 26, 2010, at the age of 90.

    Even if you’re not directly familiar with McCall, chances are you’ve seen his work.

    Take a moment to look through his web site (galleries here), and enjoy some time off-planet courtesy of a visionary artist.

    For more, see my 2008 post on Robert McCall.

    [Via The Art Department and Mike Burke]



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  • Kevin Frank

    Kevin Frank
    Encaustic painting is an early painting medium, used by the ancient Greeks and Egyptians. In the later case it was used for the well-known Fayum Mummy Portraits, the sometimes strikingly beautiful portraits done on wooden panels attached to mummies in Roman Egypt.

    Encaustic painting is a process in which pigment is added to heated beeswax, sometimes modified with damar resin or other hardening agents, and applied to the support while still hot. Though wax is thought of as a fragile substance, the addition of hardeners and the “Punic wax” process, lost and then rediscovered by painter Fritz Faiss in the early 20th Century, make it durable. The encaustic mummy portraits date from 100-300 AD.

    Modern artists in the 20th Century, notably Jasper Johns, incorporated encaustic into their work; and the process, demanding as it can be, is experiencing something of a revival.

    Kevin Frank is a Brooklyn based contemporary artist who does still life, landscape and portraits in the encaustic medium. His paintings have a beautiful character of texture and surface color, due in part to the way in which the artist must apply the paint, quickly and with finesse, before the wax cools. (Inexperienced painters will sometimes find themselves with a brush stuck to the surface.)

    I find the way that Frank uses the character of the paint particularly appealing in his still life subjects, which have a visceral, tactile quality reminiscent of Chardin. His landscapes appear to lean to photorealism when viewed small; viewing the details, however (look for a link to the left in the pages on his web site) reveals a painterly, textural surface.

    Frank’s site includes an essay on his work, and the nature of encaustic painting, by Joanne Mattera, painter and author of The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax.

    In two of his still life paintings Frank pays tribute to his chosen medium, Still Life with Flag makes reference to objects associated with the work of Jasper Johns; and The Lyre (image above, third down and detail, bottom) refers to the mummy portraits, one of which Frank had a life size reproduction of mounted on a board and keeps in his studio for study.



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Vasari Handcraftes artist's oil colors

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Amazon

(Amazon.com affiliate links; sales go to a larger yacht for Jeff Bezos; but I get a small percentage to help support my work on Lines and Colors)

John Singer Sargent: Watercolors
John Singer Sargent: Watercolors

Sorolla the masterworks
Sorolla: the masterworks

The Art Spirit
The Art Spirit

Rendering in Pen and Ink
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Urban Sketching: Understanding Perspective
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Drawing on the right side of the brain
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