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The Book of Fairy Poetry illustrated by Warwick Goble

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The Book of Fairy Poetry is a compilation of poems that took compiler Dora Owen several years to complete. Published in 1920, this anthology is divided into three parts: fairy stories, fairy songs, dances, and talk, and fairy lore. Each is filled with fantastic literary creations from the likes of J.R.R. Tolkien, William Shakespeare, Robert Louis Stevenson, John Milton, and William Butler Yeats, as well as traditional pieces. Even Mrs. Owen herself included her own original poem, titled Children, Children, Don't Forget. The book was illustrated by Warwick Goble (1862 - 1943), who was a Victorian illustrator of children's books and was specialized in fairy tales and exotic scenes from Japan, India and Arabia.


































Jacque Tardi: Grabenkrieg (It was the War of the Trenches )

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Selten wurde das Grauen, der Schrecken und der Wahnsinn des Ersten Weltkrieges so gekonnt in Comic-Form umgesetzt, wie es der Band Grabenkrieg von Jacques Tardi tut.


Tardi selbst schrieb dazu: Grabenkrieg ist nicht das Werk eines Historikers, es handelt sich nicht um eine chronologisch korrekte Darstellung der Geschichte des Ersten Weltkrieges in Comic-Form, sondern um eine Abfolge einzelner Situationen, die von Männern erlebt wurden, die im Schlamm festsassen und sich in ihrer Haut sichtlich nicht wohlfühlten, die manipuliert wurden und nur eine Hoffnung hatten, nämlich die nächste Stunde zu überleben, die sich nichts sehnlicher wünschten, als wieder nach Hause zu kommen, kurz, dass der Krieg aufhört! Es gibt keine Helden und keine Hauptperson in dem beklagenswerten kollektiven Abenteuer genannt Krieg. Es gibt nur einen gigantischen, anonymen Aufschrei im Todeskampf.

Jacques Tardi: artillery thunder and trench rage
Jacques Tardi, born in 1946, is the grand old man of French Comics. His great obsession is the First World War, which he has focused on throughout his 50-year career. It Was the War of the Trenches (“C’etait la Guerre des Tranchees”) and Goddamn this War! (“Putain de Guerre!”) are his Comic-book attempts to come to terms with this first great catastrophe of the 20th century. He has succeeded because he avoids conventional Comic storylines.
In his introduction to It Was the War of the Trenches, Jacques Tardi promises there are no ‘heroes’ or ‘leading lights’ in his tale of the wretched ‘adventure’ of war’: it is simply a gigantic, anonymous scream of mortal pain. And that is precisely what Tardi shows us: his low-key, page-wide images depict everyday life in the First World War trenches. Everything drips with filth and mud, soldiers are cynically sacrificed to a series of wildly surreal strategic objectives; there’s no heroism, only shit-scared cowardice, fury at being in the trenches, attempts at self-harm in the hope of escaping, diarrhoea and hopelessness.

We show a selection of pictures. The comic book contains 124 pages.

Octobre 1917









27. November 1916












Januar 1916













Tardi's book appeared 1993 by CASTERMAN, Bruxelles. The german edition was published by Edition Moderne, Zürich.

The Great Sioux Trail by Joseph Altsheler illustrated by Charles R. Wrenn and Zdenek Burian

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The Great Sioux Trail (A Story of Mountain and Plain) by Joseph A. Altsheler was published in 1918. The book contains four illustrations by Charles L. Wrenn.
The Czech edition Za zlatem do země Siouxů appeared 1933 and was illustrated by Zdenek Burian.


Illustrations by Charles L. Wrenn


 This picture was also used for the dustcover





Illustrations by Zdenek Burian


"Who is the Indian chief?" he said to Boyd, the scout and hunter, who stood by his side. "He seems to be a man."
"He is," replied Boyd with emphasis. "He's a man, and a great man, too. That's Red Cloud, the war chief of the Ogalala Sioux, Mahpeyalute, they call him in their language, one of the bravest warriors that ever lived, and a thinker, as well. If he'd been born white he'd be governor of a big state by this time, and later on he might become president of 'em all."
"I've heard of him. He's one of our most dangerous enemies."


The sun had sunk over the dim mountains in the north and the burning red there was fading. All the thin forest was clothed now in dusk, and the figure of the chief himself grew dimmer. Yet the twilight enlarged him and lent to him new aspects of power and menace. As he made his gesture of defiance, young Clarke, despite his courage, felt the blood grow chill in his veins....The young officer seemed nervous and doubtful. He switched the tops of his riding boots with a small whip, and then looked into the fierce eyes of the chief, as if to see that he really meant what he said. Kenyon was fresh from the battlefields of the great civil war, where he had been mentioned specially in orders more than once for courage and intelligence, but here he felt himself in the presence of an alarming puzzle. His mission was to be both diplomat and warrior. He was not sure where the duties of diplomat ceased and those of warrior began.


The silent departure of Boyd and Will by night from the camp of the troops...


The rifle sprang to his shoulder, a jet of flame leaped from the muzzle, and, with the sharp crack, the foremost Sioux rolled to the ground and lay still, his frightened pony galloping off at an angle. The hunter quickly pulled the trigger again and the second Sioux also was smitten by sudden death. The other two turned, but one of them was wounded by the terrible marksman, and the pony of the fourth was slain, his rider hiding behind the body. A dismal wail came from the Sioux far back. The hunter lowered his great weapon, and one hand resumed the bridle rein.


"Old Ephraim!" he said.
A gigantic grizzly bear was upreared on a great rocky outcrop about three hundred yards away, and the opalescent light of the morning magnified him in the boy's eyes, until he was the largest beast in the world. Monstrous and sinister he stood there, unmoving, gazing at the strange creatures in the little camp. He seemed to Will a symbol of this vast and primeval new world into which he had come. Remembering his glasses he took them and brought the great grizzly almost before his eyes.


Will's heart warmed at once to the little man who continued to whistle forth a volume of clear song, and whose face was perhaps the happiest he had ever seen. Boyd stepped suddenly from the shielding brushwood and extended his hand.
"Tom Bent," he said, "put 'er there!"
"Thar she is," said Giant Tom, placing his palm squarely in Boyd's.
"My young friend, Mr. William Clarke," said the hunter, nodding at the lad, "and this is Mr. Thomas Bent, better known to me and others as Giant Tom."


"We ride along by the creek, an' sometimes the ledge is jest wide enough fur the horses an' mules. We go on that way four or five miles, provided we don't fall down the cliff into the creek an' bust ourselves apart. Then, ag'in, purvided we're still livin', we come out into a valley, narrow but steep, the water rushin' down it in rapids like somethin' mad.

The three were lying close together, all behind rocky upthrusts...

"I think I'll call it the White Dome", said Will, examinining it for the hundredth time through his glasses.


He saw one hand steal up over the ledge. The other, holding a revolver, followed in an instant, and then the lad, knowing in his heart that treacherous and black murder was intended, threw up his own rifle and pulled the trigger. He fired practically at random, doubting that the bullet would hit, but there was the sound of an oath, of scraping feet and a thud, while the gorges and ravines of the mountain sent back the crack of the rifle in many echoes.


He had just started the other way when he heard a fierce growling sound behind him and the beat of heavy feet. Whirling about he saw an enormous beast charging down upon him. It would scarcely be correct to say that he saw, instead he had a blurred vision of a huge, shaggy form, red eyes, a vast red mouth, armed with teeth of amazing length and thickness, and claws of glistening steel, huge and formidable. Everything was magnified, exaggerated and infinitely terrible.

Will you let me take another and thorough look at your map, William?" He studied it long and attentively,...


He had, in very truth, seen a man, and as he still looked a rifle was thrust over a ledge, a puff of fire leaping from its muzzle. From a point above him came a cry that he knew to be a death yell, and the body of a warrior shot downward, striking on the ledges until it bounded clear of them and crashed into the valley below.

it took them a long time to find a way by which the horses could descend, and it required their utmost skill to prevent falls.


Hour after hour they marched past, not a single one stopping for the water and deep grass they must have smelled so near. At times, they were half hidden by the vast cloud of dust in which they moved, and which was of their own making, and at other times the wind of the plains blew it away, revealing the lowered heads and huge black forms, pressing on with some sort of instinct to their unknown destination.
Will watched them a long time and the tremendous sight at last laid a spell upon him. Apparently they had no leaders. What power moved them out of a vast and unknown region into another region, alike vast and unknown? Leaderless though they were, they advance

The growth of scrub, watered by seepage from the stream, was rather dense, and he pushed his way in gently, lest a rustling of twigs and leaves reach the Sioux, lurking among the cottonwoods. He did not hear the noise again, and he went a little farther. Then he heard a sound by his side almost as light as that of a leaf that falls, and he whirled about, but it was too late. A war club descended upon his head and he fell unconscious to the ground.

He turned painfully on his side, groaned, shut his eyes, and opened them again to see a tall warrior standing over him, gazing down at him with a cynical look. He was instantly ashamed that he had groaned and said in apology: "It was pain of the spirit and not of the body that caused me to make lament."
"It must be so," replied the warrior in English, "because you have come back to the world much quicker than we believed possible. The vital forces in you are strong."

When the scraping of the skins was finished he was set to work with some of the old men making lances. These were formidable weapons, at least twelve feet long, an inch to an inch and a half in diameter, ending in a two-edged blade made of flint, elk horn or bone, and five or six inches in length. The wood, constituting the body of the lance, had to be scraped down with great care, and the prisoner toiled over them for many days.

Then he heard a woof and a snort, and a sudden lurch of a heavy body. He sprang to his feet in alarm. While he was thinking and inattentive, Rota (the grizzly bear), not yet gone into his winter sleep, vast and hungry, was upon him.
Xingudan was no coward, but he was not so agile as a younger man. He sprang to his feet and hastily leveling the repeating rifle fired once, twice. The Indian is not a good marksman, least of all when in great haste. One of the bullets flew wild, the other struck him in the shoulder, and to Rota that was merely the thrust of a needle, stinging but not dangerous. A stroke of a great paw and the rifle was dashed from the hands of the old chief. Then he upreared himself in his mighty and terrible height, one of the most powerful and ferocious beasts, when wounded, that the world has ever known.

...despite the deep snow, and Will brought down with a lucky arrow a fine elk that made for him a position yet better in the village...

But the bull did not fall. No arrow had yet touched a vital spot. Bellowing with pain and rage, he whirled, and catching sight of Will, who was only a few yards away, charged. Pehansan and Roka uttered warning shouts, and the youth, who in his enthusiasm had gone too near, made a convulsive leap to one side. Had he been on hard ground and in his moccasins he might easily have escaped that maddened rush, but the long and delicate snowshoes caught in a bush, and he fell at full length on his side. Then it was the very completeness of his fall that saved him. The infuriated beast charged directly over him, trampling on the point of one snowshoe and breaking it, but missing the foot. Will was conscious of a huge black shape passing above him and of blood dripping down on his body, but he was not hurt and he remembered to cling to his bow.

Tatjana Hauptmann: Illustrationen zum Das Grosse Märchenbuch

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"Wenn ich arbeite", sagt die Illustratorin Tatjana Hauptmann, "bin ich nicht ansprechbar. Ich gehe über die Strasse und erkenne keinen Menschen. Ich lebe in einer anderen Welt". Fünf Jahre lang lebt Tatjana Hauptmann in einer Märchenwelt - bis 1987 Das grosse Märchenbuch mit den einhundert schönsten Märchen Euopas und sechshundert Zeichnungen der Künstlerin im Diogenes Verlag, Zürich erscheint.
Wikipedia: Tatjana Hauptmann wurde am 1. Februar 1950 in Wiesbaden als Tochter eines russischen Barons und Ingenieurs und einer Tänzerin am Hessischen Staatstheater geboren. Sie besuchte mit dreizehn die Werkkunstschule Offenbach und studierte später Grafik an der Werkkunstschule Wiesbaden. Ab 1970 zeichnete sie beim ZDF unter anderem Minzelmännchen. Ihr erster großer Erfolg war das Bilderbuch Ein Tag im Leben der Dorothea Wutz. Sie illustrierte u.a. Das große Märchenbuch und Das große Ringelnatz-Buch. 2008 erschien das Buch  Die schönsten Geschichten aus Tausendundeiner Nacht. Auch hat sie eine Neuausgabe vonMark Twains Tom Sawyer und Huckleberry Finn illustriert.
Tatjana Hauptmann lebt in der Schweiz in Einsiedeln beim Sihlsee.


"When I'm working", says the Illustrator Tatjana Hauptmann, "I'm not approachable. I go across the street and don't recognize anybody. I am living in a different world". For five years Tatjana Hauptmann lives in a fairy tale world - until 1987 The Great Fairy Tale Book appears with the one hundred most beautiful fairy tales and six hundred drawings of the artist in Diogenes Verlag, Zurich.
Tatjana Hauptmann was born on February 1, 1950 in Wiesbaden as the daughter of a Russian Baron and engineer and a dancer at the Hessian State Theatre. She attended the Werkkunstschule Offenbach with thirteen, and later studied graphics at the Werkkunstschule Wiesbaden. From 1970 she was drawing among other things Minzelmännchen at ZDF. Her first success was the picture book A Day in the Life of DorotheaWutz. She illustrated among others The Great Fairy Tale Book and the Big Ringelnatz-BookThe most Beautiful Stories from the Arabian Nights appeared 2008. She has also illustrated a new edition of Mark Twain's Tom Sawyer and Huckleberry Finn.
Tatjana Hauptmann lives in the Switzerland in Einsiedeln near the Sihlsee.







































Helheimen Design: IT'S ART Masterclasses

Emil Doepler: Illustrationen für Walhall, Die Götterwelt der Germanen, Part 1

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Emil Doepler der Jüngere (* 29. Oktober 1855 in München; † 21. Dezember 1922 in Berlin) war Maler, Kunstgewerbler, Gebrauchsgraphiker, Heraldiker und Lehrer. Emil Doepler war der Sohn des Professors Carl Emil Doepler des Älteren (1824–1905), welcher unter anderem durch seine Tätigkeit als Leiter der kostümlichen Ausstattung der Bayreuther Festspiele bekannt wurde.
Emil Doepler d. J. widmete sich bereits als Jugendlicher intensiv der Kunst. Sein Vater, der sich ebenfalls als Maler und Illustrator einen Namen machte, war zunächst sein Lehrer. Er spezialisierte sich als Zeichner und Maler heraldischer und kunstgewerblicher Motive, schuf aber auch Landschaftsbilder und Stillleben in unterschiedlichen Techniken.






Emil Doepler "the Younger"(29 October 1855 in Munich – 21 December 1922 in Berlin) was a German Art Nouveau illustrator, decorative artist, and art teacher. Emil Doepler was son of Carl Emil Doepler, painter, artist, and costume designer.
Um 1900 schuf Doepler seine Illustrationen für Walhall - Die Göttwerwelt der Germanen - Oldenbourg, Berlin.
About 1900 Doepler created his illustrations for Wahall - Die Götterwelt der Germanen - Oldenbourg, Berlin.























Constantinople painted by Warwick Goble, Part 1.

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Two weeks ago we presented the illustrations of Warwick Goble's The Book of Fairy Poetry. Constantinople painted by the same artist shows a quite another side of his ability. The first edition was published by A. & C. Black, London, 1906.





Frontispiece
A Turkish Lady in Out-Door Dress

The Quay in Galata

Galata from the Aqueduct of Valens

Stamboul  Beggar

Gypsy Basket-Maker

 A Step Street in Galata

A Flower-Market, Scutari

The Galata Bridge

 A Cemetery by the Bosporus

A Kefedji

 Golden Horn from the Bristish Hospital, Galata

Street Scene, Clay Works

Street Scene, Stamboul

A Village Store at Kavak

Galata Tower from the Bridge

Refugee Huts on the Marmora

 Turkish Delight Factory

 Flower-Sellers

Carpet-Menders

Fruit-Market, Stamboul

Carpet Warehouse

Shoemaker, Stamboul

Street Scene, Roumeli Hissar

 Grand Bazaar, Stamboul

A Blacksmith's Shop

Seraglio Point from "The Stones"

The Seraglio Lighthouse and Scutari

 Interior of the Mosque of Sultan Ahmed I.

Prinkipo (Princes Islands)

Golden Horn, early Morning

The Bridge from Galata

Max Klinger: Intermezzos, Opus IV

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Max Klinger: Intermezzos, Opus IV  (Intermezzi, Opus IV) was first published 1881.
The Opus IV offers a diverse selection of amusements, like brief comedic interludes at the opera. The portfolio highlights the capriciousness of life and includes a sequence of four prints on the mythological lives of centaurs, four prints based on Hans Jakob Christoph von Grimmelshausen's seventeenth-century tale The Adventurous Simplicissimus, and four individual compositions further elaborating Klinger's favored themes of desire, death, and fantasy. The twelve prints vary in size and format, but all reveal sublime vistas and demonstrate Klinger's mastery of the vocabulary of Romantic landscapes and lessons he learned through studying Japanese prints.

Klinger dedicated the portfolio to engraver and art dealer Hermann Sagert, who had encouraged him to disseminate his work more broadly by making prints. It also honors the composer Robert Schumann, whose musical Intermezzi are opus four in his own career.

 Blatt 1 (Plate 1): Bär und Elfe  (Bear and Elf)

Blatt 2 (Plate 2): Am Meer  (By the Sea)

Blatt 3 (Plate 3) : Verfolgter Centaur  (Persued Centaur)

 Blatt 4 (Plate 4): Mondnacht  (Moonlight)

Blatt 5  (Plate 4): Kämpfende Centauren  (Battling Centaurs)

 Blatt 6  (Plate 6): Bergsturz  (Landslide)


 Blatt 7  (Plate 7): Simplici Schreibstunde (Simplicius‘ Writing Lesson)

Blatt 8  (Plate 8): Simplicius am Grabe des Einsiedlers  (Simplicius at the Hermit’s Grave)
                         

Blatt 9 (Plate 9): Simplicius unter den Soldaten ( Simplicius among the soldiers)

 Blatt 10 (Plate 10): Simplicius in der Wald-Einöde (Simplicius in the Wilderness)

Blatt 11 (Plate11): Gefallener Reiter  (Fallen Rider)

Blatt 12 (Plate 12): Amor Tod und Jenseits (Cupid, Death and the Beyond)

Constantinople painted by Warwick Goble, Part 2.

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 Golden Horn

 Suleimaniyeh at Sunrise

Cemetery from Eyoub

 Galata and Stamboul from Eyoub

 Golden Horn after Sunset

 The Walls; the Tower of Isaac Angelus

 Constantinople and Golden Horn from the Cemetery at Eyoub

 View from an old Cemetery

 Market in the Court of the Mosque of Sultan Ahmed I.

 Court of the Suleimaniyeh

 Interior of  S. Sophia

 Interior of S. Sophia, the Sultan's Gallery

 Fountain in S. Sophia

 A Wet Day on the Galata Bridge

 In the Grand Bazaar

 A Fortune-Teller

Street Scene, Top-Khanch

 A Step Street

 Simit-Seller

 Market at Scutari

 Entrance to a Turkish Khan

 Turkish Well, Stamboul

 A Fountain by the Bosporus
 
 Open Air Café, Stamboul

 Roumeli Hissar

 A Howling Dervish

 A Whirling Dervish

 Tomb in Scutari

 The Sweet Waters of Europe

 The Yashmak

The Sweet Waters of Asia

Alex Raymond: Flash Gordon, Im Königreich aus Eis (The Ice Kingdom of Mongo)

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“The Ice Kingdom of Mongo” was the thirteenth installment of Alex Raymond’s Flash Gordon Sunday comic strip serial for King Features Syndicate.It was originally published between March 12, 1939 and April 7, 1940. The epic-length “Ice Kingdom of Mongo” was the first story whose continuity lasted more than a year.





Flash, Dale, Zarkov and Ronal rocket their way to explore the frozen North. The freezing temperatures (100 below zero) cause their rocket ship to crash.





























the comic strip will be continued...

Alex Raymond leistete viel für die Anerkennung der Comics als eine weitere Kunstform. Sein Werk hob das Genre eine weitere Stufe empor und wurde zum Vorbild für viele Zeichner nach ihm. Mit Flash Gordon schuf er die Idealform des Abenteuer-Strips.

Emil Doepler: Illustrationen für Walhall, Die Götterwelt der Germanen, Part 2

*The white Tiger" - Pierangelo Boog

Marie Hohneck: Illustrationen zu Waldmärchen von Gustav Heick

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Für Frauen war es um 1900 nicht einfach als Illustratoren oder Autoren von Kindernbüchern aufzutreten. Obschon sich im anglikanischen Sprachgebiet eine Reihe von Namen aufzählen lässt: Kate Greenway, Rie Cramer, Anne Anderson etc.  Wenn auf einem Titelblatt zu jener Zeit der Vornamen eines Illustrators nur  in abgekürzter Form dargeboten wird, verdichtet sich der Verdacht, dass sich dahinter ein Frauennamen verbirgt, wie z. B. bei S. Wörishöffer oder M. Hohneck, wobei der letztere für Marie Hohneck steht.
Die begabte Kinderbuchillustratorin Maria Hohneck war die Tochter des Landschaftsmalers und Grafikers Adolf Hohneck (1812-1879). Ihre zahlreichen Illustrationen veröffentlichte vor allem der Verlag Enßlin & Laiblin in Reutlingen. Über ihr persönliches Leben ist fast nichts zu finden. Es lässt sich nur anhand der illustrierten Bücher feststellen, dass sie in den Jahren 1885 bis 1915 tätig war.


At the turn of the 20th century, women illustrators, especially for children books, became more common. Be it Kate Greenaway, Rie Cramer, Anne Anderson, etc. more and more women found a job as illustrators. The academic training still was problematic and not equal for female and male students, and in most cases illustrating alone couldn't provide the livelihood. But nonetheless there were woman artists that became as popular as their male colleagues. Marie Hohneck certainly was one of them. Today mostly forgotten, she trained under Wilhelm Claudius, lived in Dresden and worked between 1885 and 1915.

















Virginia Frances Sterrett: Illustrations for Old French Fairy Tales by Comtesse de Ségur

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Last year we showed the pictures of Virginia Frances Sterrett for N. Hawthorne's Tanglewood Tales. Now we show the illustrations for Old French Fairy Tales by Comtesse de Ségur. The illustrations werecommissioned by the Penn Publishing Company (1920).




























Otto Ubbelohde: Illustrationen zu Deutsche Sagen der Brüder Grimm, Part 1

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Otto Ubbelohde (geboren 1867 in Marburg an der Lahn, gestorben1922 in Grossfelden) war Maler, Radierer und Illustrator.
Er schuf nicht nur die weltweit bekannten 448 Illustrationen zu  zu einer 1909 erschienenen Ausgabe der Kinder- und Hausmärchen der Brüder Grimm des Leipziger Turm-Verlags, sondern auch die Illustrationen zu der bei Abel & Müller Leipzig 1912 erschienenen Ausgabeder Deutsche Sagen der Brüder Grimm.

Otto Ubbelohde (January 5, 1867 – May 8, 1922) was a German painter, etcher and illustrator. Ubbelohde got famous internationally by illustrating books of  Grimm's Fairy Tales. Between 1906 and 1908 he created  448 illustrations of  fairy tales. Here, we show the first part of his illustrations for Grimm's Deutsche Sagen that appeared 1912 at Abel & Müller Leipzig.


Die drei Bergleute im Kuttenberg

Frau Hollen Bad
In der für Jugendliche bestimmten Ausgaben fehlt natürlich dieses Bild, sonst hätten die Bübchen noch auf schlimme Gedanken kommen können .

Fräulein von Boyneburg

 Das Riesenspielzeug

Der Scherfenberger und der Zwerg

Beschwörung der Bergmännlein

Der einkehrende Zwerg

Mummelsee

Der Liebenbach

Der Glockenguss zu Attendorn

 Johann Hübner

Der Riesenfinger

Der Schwerttanz zu Weissenstein

Die Schlangenkönigin

Frau Hütt

Der Frauensand

 Der Bingermäuseturm

Die Kinder zu Hameln

Der herumziehende Jäger

Waberndes Flammenschloss

Shaun Tan: The Arrival

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Shaun TansThe Arrival ist eine "graphic novel" ohne Worte, eine parabelartige Abfolge von Bildern, die das Schicksal des Emigranten in die USA schlechthin schildert. Gleichzeitig durchdringen fantastische, surrealistische Traumbilder das Geschehen. Alle Bilder in einem Braunton gehalten, so als hätte man auf einem Dachboden ein altes Fotoalbum gefunden, dessen vergilbte Bilder eine längst vergessene Geschichte erzählen.


Shaun Tan is an Australian artist, writer and film maker. He won an Academy Award for The Lost Thing, a 2011 animated film adaptation of a 2000 picture book he wrote and illustrated. Beside The Lost Thing, TheRed Tree and The Arrival are books he has written and illustrated.
Tan was born in Fremantle, Western Australia and grew up in the northern suburbs of Perth in 1974. In 2006, his wordless graphic novelThe Arrival won the "Book of the Year" prize as part of the New South Wales Premier's Literary Awards. The same book won the Children's Book Council of Australia "Picture Book of the Year" award in 2007.

We show some pictures of the first part and a selection of the second and third part of the book.

I




























II
























A typical picture (arrival in New York) where reality mix with dreams.




























III




IV

Shaun Tan also includes the story and the fate of other immigrants. It is usually recognized by the slight change of color as seen by the following pictures:







 V - VI

























Anyone who thinks that the graphic novel is no more than a flash-in-the-pan phenomenon, ought to take a look at The Arrival . This magnificient work not only establishes itself in a mayor new literary genre but raises the stakes for anyone seriously considering working in it. Born of dreams and history, it is a story that seems to have been living in the depths of our unconscious, Shaun Tan reached deep down and brought it into the light. - David Small, Caldecott Metalist

Shaun Tan

The Story of the Champions of the Round Table Written and Illustrated by Howard Pyle

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Howard Pyle was an American illustrator, author, and teacher who produced many classic illustrated volumes, including fables, fairy tales and adventure stories.





Howard Pyle was born on March 5, 1853, in Wilmington, Delaware. After studying art, he moved to New York City to work as a magazine illustrator. Returning to Wilmington in 1880, Pyle took on other aspects of book design, creating classic illustrated works like The Merry Adventures of Robin Hood. Pyle later taught illustration and founded the Brandywine School of Art, whose attendees included artists N. C. Wyeth and Maxfield Parrish. Pyle died in 1911.























































The White Company by A.C. Doyle illustrated by N.C. Wyeth

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The White Company is a historical adventure by Arthur Conan Doyle set during the Hundred Years' War. The story is set in England, France, and Spain, in the years 1366 and 1367, against the background of the campaign of Edward, the Black Prince to restore Peter of Castile to the throne of the Kingdom of Castile. The climax of the book occurs before the Battle of Nájera. Doyle became inspired to write the novel after attending a lecture on the Middle Ages in 1889. After extensive research, The White Company was published in serialized form in 1891 in Cornhill Magazine. Additionally, the book is considered a companion to Doyle's later work Sir Nigel, which explores the early campaigns of Sir Nigel Loring and Samkin Aylward.
The novel is relatively unknown today, though it was very popular up through the Second World War. In fact, Doyle himself regarded this and his other historical novels more highly than the Sherlock Holmes adventures for which he is mainly remembered.
The "White Company" of the title is a free company of archers, led by one of the main characters. The name is taken from a real-life 14th-Century Italian mercenary company, led by John Hawkwood. (Wikipedia)


The edition illustrated by N.C. Wyeth was published by David McKay 1922.

As these three brothers advanced towards him to carry out the Abbot's direction, the smile faded from the novice's face, and he glanced right and left with his fierce brown eyes, like a bull at a baiting. Then, with a sudden deep-chested shout, he tore up the heavy oaken prie-dieu and poised it to strike, taking two steps backward the while, that none might take him at a vantage.
"By the black rood of Waltham!" he roared, "if any knave among you lays a finger-end upon the edge of my gown, I will crush his skull like a filbert!" With his thick knotted arms, his thundering voice, and his bristle of red hair, there was something so repellent in the man that the three brothers flew back at the very glare of him; and the two rows of white monks strained away from him like poplars in a tempest. The Abbot only sprang forward with shining eyes; but the chancellor and the master hung upon either arm and wrested him back out of danger's way.


"Shalt clip me as best you can then," quoth the archer, moving out into the open space, and keeping a most wary eye upon his opponent. He had thrown off his green jerkin, and his chest was covered only by a pink silk jupon, or undershirt, cut low in the neck and sleeveless. Hordle John was stripped from his waist upwards, and his huge body, with his great muscles swelling out like the gnarled roots of an oak, towered high above the soldier. The other, however, though near a foot shorter, was a man of great strength; and there was a gloss upon his white skin which was wanting in the heavier limbs of the renegade monk. He was quick on his feet, too, and skilled at the game; so that it was clear, from the poise of head and shine of eye, that he counted the chances to be in his favor. It would have been hard that night, through the whole length of England, to set up a finer pair in face of each other.
Big John stood waiting in the centre with a sullen, menacing eye, and his red hair in a bristle, while the archer paced lightly and swiftly to the right and the left with crooked knee and hands advanced. Then with a sudden dash, so swift and fierce that the eye could scarce follow it, he flew in upon his man and locked his leg round him. It was a grip that, between men of equal strength, would mean a fall; but Hordle John tore him off from him as he might a rat, and hurled him across the room, so that his head cracked up against the wooden wall.

As they advanced, the path still tended upwards, running from heath into copses of holly and yew, and so back into heath again. It was joyful to hear the merry whistle of blackbirds as they darted from one clump of greenery to the other. Now and again a peaty amber colored stream rippled across their way, with ferny over-grown banks, where the blue kingfisher flitted busily from side to side, or the gray and pensive heron, swollen with trout and dignity, stood ankle-deep among the sedges. Chattering jays and loud wood-pigeons flapped thickly overhead, while ever and anon the measured tapping of Nature's carpenter, the great green woodpecker, sounded from each wayside grove. On either side, as the path mounted, the long sweep of country broadened and expanded, sloping down on the one side through yellow forest and brown moor to the distant smoke of Lymington and the blue misty channel which lay alongside the sky-line, while to the north the woods rolled away, grove topping grove, to where in the furthest distance the white spire of Salisbury stood out hard and clear against the cloudless sky. To Alleyne whose days had been spent in the low-lying coastland, the eager upland air and the wide free country-side gave a sense of life and of the joy of living which made his young blood tingle in his veins. Even the heavy John was not unmoved by the beauty of their road, while the bowman whistled lustily or sang snatches of French love songs in a voice which might have scared the most stout-hearted maiden that ever hearkened to serenade.


"This way!" the woman whispered, in a low eager voice. "Through the bushes to that forked ash. Do not heed me; I can run as fast as you, I trow. Now into the stream—right in, over ankles, to throw the dog off, though I think it is but a common cur, like its master." As she spoke, she sprang herself into the shallow stream and ran swiftly up the centre of it, with the brown water bubbling over her feet and her hand out-stretched toward the clinging branches of bramble or sapling. Alleyne followed close at her heels, with his mind in a whirl at this black welcome and sudden shifting of all his plans and hopes. Yet, grave as were his thoughts, they would still turn to wonder as he looked at the twinkling feet of his guide and saw her lithe figure bend this way and that, dipping under boughs, springing over stones, with a lightness and ease which made it no small task for him to keep up with her. At last, when he was almost out of breath, she suddenly threw herself down upon a mossy bank, between two holly-bushes, and looked ruefully at her own dripping feet and bedraggled skirt.


The breeze blew, the sail bellied, over heeled the portly vessel, and away she plunged through the smooth blue rollers, amid the clang of the minstrels on her poop and the shouting of the black crowd who fringed the yellow beach. To the left lay the green Island of Wight, with its long, low, curving hills peeping over each other's shoulders to the sky-line; to the right the wooded Hampshire coast as far as eye could reach; above a steel-blue heaven, with a wintry sun shimmering down upon them, and enough of frost to set the breath a-smoking.


"By my troth!" said Chandos with a smile, "it is very fitting that we should be companions, Nigel, for since you have tied up one of your eyes, and I have had the mischance to lose one of mine, we have but a pair between us. Ah, Sir Oliver! you were on the blind side of me and I saw you not. A wise woman hath made prophecy that this blind side will one day be the death of me. We shall go in to the prince anon; but in truth he hath much upon his hands, for what with Pedro, and the King of Majorca, and the King of Navarre, who is no two days of the same mind, and the Gascon barons who are all chaffering for terms like so many hucksters, he hath an uneasy part to play. But how left you the Lady Loring?"


"Then on guard again!" cried the young squire, and sprang in with a fire and a fury which more than made up for the shortness of his weapon. It had not escaped him that his opponent was breathing in short, hoarse gasps, like a man who is dizzy with fatigue. Now was the time for the purer living and the more agile limb to show their value. Back and back gave Tranter, ever seeking time for a last cut. On and on came Alleyne, his jagged point now at his foeman's face, now at his throat, now at his chest, still stabbing and thrusting to pass the line of steel which covered him.


...the two combatants advanced from either end in full armor with their two-handed swords sloping over their shoulders. The stranger walked heavily and with a measured stride, while the English knight advanced as briskly as though there was no iron shell to weigh down the freedom of his limbs. At four paces distance they stopped, eyed each other for a moment, and then in an instant fell to work with a clatter and clang as though two sturdy smiths were busy upon their anvils. Up and down went the long, shining blades, round and round they circled in curves of glimmering light, crossing, meeting, disengaging, with flash of sparks at every parry. Here and there bounded Sir Nigel, his head erect, his jaunty plume fluttering in the air, while his dark opponent sent in crashing blow upon blow, following fiercely up with cut and with thrust, but never once getting past the practised blade of the skilled swordsman.


They sat at the lowest depth of human misery, and hugged a bitter comfort to their souls as they realized that they could go no lower. Yet they had still the human gift of speech, and would take council among themselves in their brushwood hovels, glaring with bleared eyes and pointing with thin fingers at the great widespread chateaux which ate like a cancer into the life of the country-side. When such men, who are beyond hope and fear, begin in their dim minds to see the source of their woes, it may be an evil time for those who have wronged them. The weak man becomes strong when he has nothing, for then only can he feel the wild, mad thrill of despair. High and strong the chateaux, lowly and weak the brushwood hut; but God help the seigneur and his lady when the men of the brushwood set their hands to the work of revenge!


"My God!" cried Alleyne, shaking in every limb. "What has come upon us? What devil's deed is this?"
"Here is flint and steel," said John stolidly. "The lamp, Aylward! This moonshine softens a man's heart. Now we may use the eyes which God hath given us."
"By my hilt!" cried Aylward, as the yellow flame flickered up, "it is indeed young master Ford, and I think that this seneschal is a black villain, who dare not face us in the day but would murther us in our sleep. By the twang of string! if I do not soak a goose's feather with his heart's blood, it will be no fault of Samkin Aylward of the White Company."


Day was already breaking in the east, and the summits of the great peaks had turned rosy red, while the valleys still lay in the shadow, when they found themselves with the cliffs on either hand and the long, rugged pass stretching away before them.
Sir Nigel rode his great black war-horse at the head of his archers, dressed in full armor, with Black Simon bearing his banner behind him, while Alleyne at his bridle-arm carried his blazoned shield and his well-steeled ashen spear. A proud and happy man was the knight, and many a time he turned in his saddle to look at the long column of bowmen who swung swiftly along behind him.


His eyes fell upon the horses, grazing upon the scanty pasture, and in an instant all had come back to him—his mission, his comrades, the need for haste. He was dizzy, sick, faint, but he must not die, and he must not tarry, for his life meant many lives that day. In an instant he was in his saddle and spurring down the valley. Loud rang the swift charger's hoofs over rock and reef, while the fire flew from the stroke of iron, and the loose stones showered up behind him. But his head was whirling round, the blood was gushing from his brow, his temple, his mouth. Ever keener and sharper was the deadly pain which shot like a red-hot arrow through his side.

...and he stands before the novice with his hands out-stretched, and his face shining, and the light of love in his gray eyes. Her foot is on the very lintel of the church, and yet he bars the way—and she, she thinks no more of the wise words and holy rede of the lady abbess, but she hath given a sobbing cry and hath fallen forward with his arms around her drooping body and her wet cheek upon his breast. A sorry sight this for the gaunt abbess, an ill lesson too for the stainless two-and-twenty who have ever been taught that the way of nature is the way of sin. But Maude and Alleyne care little for this. A dank, cold air comes out from the black arch before them. Without, the sun shines bright and the birds are singing amid the ivy on the drooping beeches. Their choice is made, and they turn away hand-in-hand, with their backs to the darkness and their faces to the light. 
 


Old-Time Stories by Charles Perrault with Illustrations by W. Heath Robinson

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W. Heath Robinson was born in London in 1872 into a long line of artists. He aspired to be a landscape painter, but had little commercial success and so followed his father and brothers into commercial book and magazine illustration. He provided the artwork for a number of books, including Don Quixote, The Water Babies, A Midsummer Night's Dream, and The Pilgrim's Progressbefore writing his first of three children's book in 1902, The Adventures of Uncle Lubin,Bill the Minder (1912) and Peter Quip in Search of a Friend (1922). Uncle Lubin is regarded as the start of his career in the depiction of unlikely machines.


Frontispiece







THE SLEEPING BEAUTY IN THE WOOD








PUSS IN BOOTS








LITTLE TOM THUMB





THE FAIRIES


RICKY OF THE TUFT





CINDERELLA







LITTLE RED RIDING HOOD






BLUEBEARD





BEAUTY AND THE BEAST







THE FRIENDLY FROG





PRINCESS ROSETTE








Aubrey Beardsley: Illustrations for The Rape of the Lock

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The Rape of the Lock is one of the most famous English-language examples of the mock-epic. Published in its first version in 1712, when Alexander Pope was only 23 years old, the poem served to forge his reputation as a poet and remains his most frequently studied work.
Aubrey Beardsley completed the ten Rape of the Lock drawings and a cover design for the first edition in just a few months despite his increasingly poor health. During his short and brilliant career he became notorious for his illustrations in two ‘decadent’ periodicals of the period, The Yellow Book and The Savoy. Beardsley's illustrations in these two periodicals will be shown in later posts.

Frontispiece: The Morning Dream
Twas he has summon'd to her silent Bed
The Morning Dream that hover'd o'er her Head.
A Youth more glitt'ring than a Birth-Night Beau. . .


Headpiece for the first canto: ‘The Billet-Doux’

‘The Toilet’ – Belinda at her dressing table.

The Baron's Prayer

The Barge

‘The Rape of the Lock’; on the left side of the picture you see the baron snipping off a lock of Belinda’s hair with a pair of scissors.

The Advent'rous Baron the bright locks admir'd;
He saw, he wish'd, and to the prize aspired.

The Cave of Spleen
A constant vapour o'er the Place flies;
Strange Phantoms rising as the Mists arise.
‘The Battle of the Beaux and Belles’ – Belinda confronts the Baron.

The New Star


 Design for Front Cover

 Aubrey Beardsley, Self-Portrait
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