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I've become fascinated lately by the cynaotype process and in researching it I've discovered a woman that is credited as being the first female photographer. Her name was Anna Atkins and she was a botanist who was friends with the inventor of the cyanotype process, Sir John Herschel. So I've ordered some treated paper and I'm going to have fun playing with it. Thjis image is my closest approximation of Anna's gorgeous images created in Lightroom and Nik software.
publicdomainreview.org/collections/cyanotypes-of-british-...
There are a number of memorials in Lichfield to Dr Samuel Johnson (1709-1784), who was born there, and was renowned as a writer, poet, playwright, essayist and author of A Dictionary of the English Language which was published in 1755. He had scrofula as a child which left him with numerous scars, and the very detailed description of his mannerisms and behaviour by Boswell suggests that he may have had Tourette’s syndrome. Born to a genteel bookseller, his father fell deeply into debt and it was only the timely death of an aunt in 1728 that enabled Samuel to go to Oxford, though lack of funds forced him to leave. Oxford finally awarded him a Master’s degree in 1755, after publication of the Dictionary.
He struggled to find employment and was saved in 1735 by marrying the wealthy widow of a friend, who had three children. With his wife’s money, Johnson set up a school, a venture that failed as there were only three pupils, though one of them was the future actor David Garrick. Johnson then set out for London alongside Garrick, and had had poems and essays published when he was commissioned to create a dictionary. When published, it contained some 42,773 entries, many of them illustrated by literary quotations, and in spite of its cost (£4 10s), it was a bestseller.
In 1763, Johnson first met 22-year-old James Boswell, who would later become Johnson's first major biographer and they quickly became friends. Johnson’s wife had died in 1752, having returned to Lichfield, and in 1765 Johnson was introduced to Henry Thrale, a wealthy brewer and MP, and his wife Hester. They struck up an instant friendship, Johnson became part of the family, and returned to working on his Shakespeare. Johnson stayed with the Thrales for 17 years until Henry's death in 1781, at which point life changed quickly for Johnson as Hester Thrale became romantically involved with the Italian singing teacher Gabriel Mario Piozzi. The following year Hester sold the family home and became engaged to Piozzi. Boswell had returned to Scotland, and with a number of physical and emotional ailments, Johnson died in 1784.
The statue was by Richard Cockle Lucas and shows him seated in a Greek Revival chair with a mass of books underneath it - by all accounts a likely state of affairs. Around the base are three reliefs illustrating events in his life.
I suspect his works are not much read nowadays, but his Dictionary is now online [publicdomainreview.org/collection/samuel-johnson-s-dictio...].
There are a number of memorials in Lichfield to Dr Samuel Johnson, who was born there, and was renowned as a writer, poet, playwright, essayist and author of A Dictionary of the English Language which was published in 1755. He had scrofula as a child which left him with numerous scars, and the very detailed description of his mannerisms and behaviour by Boswell suggests that he may have had Tourette’s syndrome. Born to a genteel bookseller, his father fell deeply into debt and it was only the timely death of an aunt in 1728 that enabled Samuel to go to Oxford, though lack of funds forced him to leave. Oxford finally awarded him a Master’s degree in 1755, after publication of the Dictionary.
He struggled to find employment and was saved in 1735 by marrying the wealthy widow of a friend, who had three children. With his wife’s money, Johnson set up a school, a venture that failed as there were only three pupils, though one of them was the future actor David Garrick. Johnson then set out for London alongside Garrick, and had had poems and essays published when he was commissioned to create a dictionary. When published, it contained some 42,773 entries, many of them illustrated by literary quotations, and in spite of its cost (£4 10s), it was a bestseller.
In 1763, Johnson first met 22-year-old James Boswell, who would later become Johnson's first major biographer and they quickly became friends. Johnson’s wife had died in 1752, having returned to Lichfield, and in 1765 Johnson was introduced to Henry Thrale, a wealthy brewer and MP, and his wife Hester. They struck up an instant friendship, Johnson became part of the family, and returned to working on his Shakespeare. Johnson stayed with the Thrales for 17 years until Henry's death in 1781, at which point life changed quickly for Johnson as Hester Thrale became romantically involved with the Italian singing teacher Gabriel Mario Piozzi. The following year Hester sold the family home and became engaged to Piozzi. Boswell had returned to Scotland, and with a number of physical and emotional ailments, Johnson died in 1784.
The statue was by Richard Cockle Lucas and shows him seated in a Greek Revival chair with a mass of books underneath it - by all accounts a likely state of affairs. Around the base are three reliefs illustrating events in his life.
I suspect his works are not much read nowadays, but his Dictionary is now online [publicdomainreview.org/collection/samuel-johnson-s-dictio...].
Illustrations of the “utsuro-bune” (hollow ship), complete with inhabitant, reported to have washed up on the coast of Japan in 1803. Was this a castaway from the West? An embellished folktale? Or even, as some suppose, an extraterrestrial visit?
Credit:
A BRIGHT and HAPPY CHRISTMAS - gray robed Santa Claus, walking stick in right hand with green gloves, brownish red hat, doll in toy-sack behind, night scene with bright stars shining on a snowy, evergreen Christmas Eve setting.
This Tuck's Post Card also came with - BEST CHRISTMAS WISHES written at the bottom.
This style of Santa Claus, often depicted in gray or brown robes before the standardized red suit made popular by Coca-Cola advertising in the 1930s, is typical of Victorian and Edwardian-era postcards. The card is an embossed chromolithograph, a popular printing technique of the "Golden Age of Postcards" (1898-1919) that allowed for rich, detailed coloration.
The Walking Stick - The use of a walking stick or cane in early Santa Claus imagery is a reflection of his origins:
Sinterklaas and Saint Nicholas: The character is based on the historical figure of Saint Nicholas, a Greek bishop. In his Dutch form, Sinterklaas, he is depicted as a stately, elderly man who carries a gold-colored crosier (a ceremonial shepherd's staff with a curled top).
Father Christmas: In 19th-century English folk plays, Father Christmas sometimes appeared as a character using two sticks.
General Depictions: Many early 20th-century postcards, like the one pictured, showed Santa walking with a stick or cane, often in a snowy, natural setting, which was a common artistic choice to imply a long journey through the snow.
He carried small trees, toys, and sticks. The sticks symbolized the tradition of bringing good fortune and driving away evil spirits, rooted in ancient rituals where sticks or branches were used to ward off negative influences and ensure a prosperous new year. This portrayal reflected the era's emphasis on the spiritual and charitable aspects of Christmas rather than the commercial and gift-giving focus we see today.
The Green Gloves (and Suit) - Green was a common color for Santa's suit, or portions of his attire like gloves, long before the standardized red suit became globally popular: Victorian Era: During the Victorian era, Santa or Father Christmas often appeared in green robes, symbolizing nature and the winter solstice festivities.
Thomas Nast: The American cartoonist who was instrumental in shaping the modern image of Santa Claus in the late 19th century initially drew him in various colors, including green, before settling on red in 1881.
Coca-Cola's Influence: The shift to the universally recognized red suit with white fur trim and a black belt was largely cemented by Haddon Sundblom's illustrations for the Coca-Cola Company, which began in 1931 and ran through the mid-1960s. These advertisements standardized his appearance, moving away from the varied colors and accessories of earlier depictions.
Link to article - A Pictorial History of Santa Claus - publicdomainreview.org/collection/a-pictorial-history-of-...
Geronimo (1829-1909), Apache chief who led opposition to the U.S. policy to relocate his people on reservations. His determination has endured him as an icon to all peoples. Imprisoned in Florida for awhile after his surrender, he lived his later life as a celebrity at Ft. Sill, OK. Contrary to popular belief, he was never confined there.
For a good biography on Geronimo visit publicdomainreview.org/2011/08/29/geronimo-the-warrior/ I read his little autobiography which was dictated to the superintendent of schools in Lawton, OK. I was a student at the University of Oklahoma, where it is housed in the Bass Collection. Originals may be read there, but not checked out.
“For a time, art was an escape, a way for her to express herself, but it could not carry her into a happy life." In 1909, occult scholar Arthur Edward Waite paid Colman Smith a flat fee to illustrate the seventy-eight cards of the tarot. An occult scholar, Waite had already published numerous books before embarking on a tarot project, volumes on alchemy and black magic as well as explorations of the work of famous mystics. The two knew each other from the Golden Dawn, a western mysticism order they both belonged to. The 15th century Sola Busca tarot—the only tarot to use pictorial images and not repetitive numbers—was used as a guide; the collaborators viewed the Italian deck when the Sola family gave a set of photographs of it to the British Museum in 1907. Some images, like the iconic, piercing Three of Swords, are clearly lifted from the older deck, while others are less obviously derivative. The style, however, is a huge departure: simpler, modern, less muscular, more romantic. Colman Smith finished the deck, a total of eighty cards, in just six months. In a letter to Stieglitz, she wrote, “I’ve just finished a big job for very little cash!”
enchantedlivingmagazine.com/divine-mystery-pamela-colman-...
She’s the world’s most famous occult artist but her name is almost unknown.
When Pamela Coleman Smith was attending the Pratt Institute of Art, she realized that she possessed a high degree of sound-color synesthesia, i.e., she was able to visualize colors and forms while listening to music and could transmit those visualizations into tangible works of art. Modern psychologists define synesthesia as a crossing-over of sensory input. Depending upon the type of synesthesia, individuals are able to hear colors, see music, smell words, etc. Many people, particularly artists, possess this phenomenon to some extent; however, Pamela possessed sound-color synesthesia to an exceptionally high degree. She was able to create sound paintings just by unconsciously drawing while listening to passages of music. She embodied the Symbolist ideal in this area. Many examples of her work in this area have survived, including three watercolors in the possession of the Stieglitz/Georgia O'Keeffe Archive. Probably the most complete commentary regarding Pamela's unique type of synesthesia was published in the October 1912 issue of The Craftsman. In that issue appeared a 14 page, illustrated article by the American writer, M. Irwin MacDonald, entitled "The Fairy Faith and Pictured Music of Pamela Colman Smith." The article is available on the Internet here and I recommend that everyone interested in Miss Smith's art peruse it. MacDonald provides enthusiastic support for Pixie Smith's artistic style and work. Unfortunately, it is the last published reference to her work of which I am aware. The fundamental problem was that the Arts and Crafts Movement, of which Pamela was a member, was undergoing a rapid decline in popularity. World War I was only two years away. With the coming of that terrible war and the rise of that schizophrenic disease called Modernism in the post-war era, sweet little Pamela Colman Smith became obsolete!
As a final comment re Pixie Smith's plight, I'd like to quote some remarks of Stuart R. Kaplan given during a recent interview with Malcolm Muckle:
Malcolm Muckle: "In reviewing what I know and have read about Pixie, I can't help but be struck by a sense of sadness at her life; she seemed to have such extraordinary gifts, and yet her life seemed to have gone into reverse after about 1908/9 with her art undergoing enhanced inappreciation, if I can put it that way, despite the superb artistic reviews she had received earlier in New York. There was almost a long, slow retreat from the world and from people. Why do you think that was?"
Stuart Kaplan: "I believe that after her exciting life with Ellen Terry, Pamela was very lonely. Her poem, Alone, is a sad commentary to her feelings of inadequacy and lack of recognition. In 1914 she gave away her personal Visitors Book with the sad inscription inside the back cover stating that she didn’t like people any more. She withdrew because people did not appreciate her. She didn’t really fit into the British life as we imagine it. She would sit on the floor before a group of her friends and tell Jamaican stories. She was very esoteric in her life style."
Malcolm Muckle: "In common with many people who have had a childhood in more than one country, PCS seems to have experienced a sense of dislocation from ordinary life. Was art a way of assuaging this?"
Stuart Kaplan: "Actually, I think for a while Pamela thrived in her unusual life style. She would hold soirees with intimate friends, sitting on the floor and was, for a short period of time, the center of attraction for a small group who found her different, childlike, amusing, talented, but it all eventually faded. For a time, art was an escape, a way for her to express herself, but it could not carry her into a happy life."
pcs2051.tripod.com/synesthesia.htm
Such is the enigma of Pamela Colman Smith (1878–1951), an early 20th-century artist, writer, and mystic. Smith created dreamy, Symbolist-inspired watercolors that won her acclaim in her youth, including three successful exhibitions at Alfred Stieglitz’s famed New York gallery, 291, where she was the first non-photographic artist to have a show. She was also an intimate friend of Dracula writer Bram Stoker, poet William Butler Yeats, and the actress and artistic muse Ellen Terry, for whom Smith designed illustrations and stage sets. However, Smith’s most lasting artistic contribution was undoubtedly her designs for the Rider-Waite tarot deck. Made in collaboration with mystic and scholar A.E. Waite, Smith created the Art-Nouveau-inspired imagery of mythical archetypes set against luminous monochromatic backgrounds. Released in 1909, the deck is now regarded as the standard set, with more than 100 million copies in circulation. Smith’s imagery has become synonymous with tarot itself.
And yet, for more than a century, Smith went wholly uncredited for her contribution. Her claim to the deck was only cemented by her iconic serpentine signature, a monogram she created while studying Japanese design, and which she embedded into the decoration for every Tarot card.
news.artnet.com/art-world/pamela-colman-smith-rider-waite...
The Latin motto TRAHOR FATIS (I am drawn by Fate) appears but four times in the Tarot masterpiece of the Italian Renaissance, the Sola Busca deck, and yet it hangs unmistakably over the cards’ entire colorful procession of ancient Greek and Roman heroes. Armored in the style of late-fifteenth century northern Italy, they bear bagpipes, shields, lyres, pennants, staffs, and torches, while accompanied by basilisks, crows, falcons, doves, and eagles. Every single card is a miniature drama — the expressions of the highly individualized figures inviting us to speculate, like the Tarot itself, on the past and future of this cryptic world. When the Italian Ministry of Cultural Heritage in Milan purchased the Sola Busca tarot deck in 2009, it had existed for five hundred years, and yet had barely ever been seen — a very strange thing for a deck of playing cards. Before a spate of studies appeared in Italian after 1990, it had only been written about three times: by Count Leopold Cicognara in Memoirs to Serve the History of Intaglio Printing (1831); by William Hughes Willshire in A Description of Playing and Other Cards (1876); and in 1935, when British Museum art historian Arthur Mayger Hind’s Early Italian Engravings advanced the first hypothesis about the origin of the deck and its author. Although still hotly debated, the contemporary scholarly consensus is that the Sola Busca deck — now housed at the Pinacoteca de Brera — was engraved in 1491, most likely in Ferrara, and was colored by hand about a decade later, in Venice. (Other versions of this deck exist in fragmented, unpainted form, preserved by the Albertina in Vienna, the British Museum, and elsewhere.)
Considered the oldest complete seventy-eight card tarot deck in existence, the Sola Busca — named for the family of Milanese nobles who owned it for some five generations — was the first to be produced using copperplate engraving. It is also the earliest known tarot deck that illustrates the Major and Minor Trumps in the way that has become the standard, with characters and objects depicting allegorical scenes. In the Renaissance era this would have been revolutionary, while, today, some of these cards may seem familiar. In 1909, when Arthur Edward Waite commissioned artist Pamela Colman–Smith to illustrate his The Pictorial Key to the Tarot (1910), she drew inspiration — and for nearly a dozen cards, the exact imagery — from the Sola Busca deck, black-and-white photographs of which were exhibited at the British Museum in 1908.The genius of the Tarot is its multivocality, its ability to convey manifold meanings independent of the interrogator. Shorn from the historical, mythological, and pictorial associations that would have been available to its users in fifteenth-century Venice or Ferrara, the Sola Busca deck is limited in its use for divinatory purposes today, and yet, since its enigmatic imagery irresistibly invites decoding, the deck nonetheless beckons twenty-first century cartomancers into a game of high imagination. Online Tarot forums host the most ingeniously freewheeling speculation about the Sola Busca’s sources and meanings, while the scholarly interpretations continue to be tentative and provisional, offering space for amateurs to make their own discoveries. In talismanic publisher Scarlet Imprint’s The Game of Saturn: Decoding the Sola-Busca Tarocchi (2017), Peter Mark Adams proposes a baroque hypothesis that the Sola Busca deck was a dark grimoire to aid the black magical operations of a secret Venetian elite cabal.
Some believe that Nicola di Maestro Antonio d'Ancona, “one of the most eccentric painters of the Renaissance”, may have been the artist behind the Sola Busca deck, although “the arguments are not entirely convincing”. Beyond the mystery of their creator lie the many puzzles embedded in these cards. Why does Alexander the Great (King of Swords) figure so largely in this deck? Is the “M.S.” on the Aces referring to Marin Sanudo, consigliere to the aristocratic Ferrrara D’Este family? Is Catone (XIII) a reference to Cato the Younger, who conquered Cyprus in 58 BCE, and thus an allusion to Venice’s annexation of Cyprus in 1489, two years before the deck’s creation? Whenever the TRAHOR FATIS inscription appears, it is accompanied by a seven–pointed “bearded” star (pogonius), raining influence toward Earth and its denizens. Is this the malefic Caput Algol in the head of the Medusa? Or the Great Comet of 1472? The fatis of the Tarot, and particularly of this magnificent work of Renaissance art, truly remains “in the stars”, pulling us fatefully toward its endless riddles.
publicdomainreview.org/collection/sola-busca/
Pamela Colman Smith (16 February 1878 – 18 September 1951), nicknamed "Pixie", was a British artist, illustrator, writer, publisher, and occultist. She is best-known for illustrating the Rider–Waite tarot deck (also called the Rider–Waite–Smith or Waite–Smith deck) for Arthur Edward Waite. This tarot deck became the standard among tarot card readers, and remains the most widely used today. Die meisten von Smith also illustrated over 20 books, wrote two collections of Jamaican folklore, edited two magazines, and ran the Green Sheaf Press, a small press focused on women writers. Smith was born at 28 Belgrave Road in Pimlico, part of central London.[5] She was the only child of a merchant from Brooklyn, New York (before it was part of New York City), Charles Edward Smith (son of Brooklyn mayor Cyrus Porter Smith), and his wife Corinne Colman (sister of the painter Samuel Colman). The family was based in Manchester for the first decade of Smith's life, but they moved to Jamaica when Charles Smith took a job in 1889 with the West India Improvement Company (a financial syndicate involved in extending the Jamaican railroad system). The Smiths lived in the capital, Kingston, for several years, traveling to London and New York.. By 1893, Smith had moved to Brooklyn, where, at the age of 15, she enrolled at the Pratt Institute, which had been founded six years earlier. There she studied art under Arthur Wesley Dow, painter, print maker, photographer, and influential arts educator.[6] Her mature drawing style shows clear traces of the visionary qualities of fin-de-siècle Symbolism and the Romanticism of the preceding Arts and Crafts movement. While Smith was in art school, her mother died in Jamaica, in 1896. Smith herself was ill on and off during these years and in the end left Pratt in 1897 without a degree. She became an illustrator; some of her first projects included The Illustrated Verses of William Butler Yeats, a book on actress Dame Ellen Terry by Bram Stoker, and two of her own books, Widdicombe Fair and Fair Vanity (a reference to Vanity Fair).. In 1899 her father died, leaving Smith at the age of 21 without either parent. She returned to England that year, continuing to work as an illustrator, and branching out into theatrical design for a miniature theatre. In London, she was taken under the wing of the Lyceum Theatre group led by Terry (who is said to have given her the nickname 'Pixie'), Henry Irving, and Bram Stoker and traveled with them around the country, working on costumes and stage design. In 1901, she established a studio in London and held a weekly open house for artists, authors, actors, and others involved with the arts. Arthur Ransome, then in his early 20s, describes one of these "at home" evenings, and the curious artistic circle around Smith, in his 1907 Bohemia in London.Folk Stories from Jamaica (1905). These books included Jamaican versions of tales involving the traditional African folk figure Anansi the Spider.[7] She also continued her illustration work, taking on projects for William Butler Yeats and his brother, the painter Jack Yeats. She illustrated Bram Stoker's last novel, The Lair of the White Worm in 1911, and Ellen Terry's book on Diaghilev's Ballets Russes, The Russian Ballet in 1913. Smith supported the struggle for the right to vote, and through the Suffrage Atelier, a collective of professional illustrators, she contributed artwork to further the cause of women's suffrage in Great Britain. Additionally, Smith donated her services for more poster designs and toys to the Red Cross during World War. In 1903, Smith launched her own magazine under the title The Green Sheaf, with contributions by Yeats, Christopher St John (Christabel Marshall), Cecil French, A. E. (George William Russell), Gordon Craig (Ellen Terry's son), Dorothy Ward, John Todhunter, and others. The Green Sheaf survived for a little over a year, a total of 13 issues. Discouraged by The Green Sheaf's lack of financial success, Smith shifted her efforts towards setting up a small press in London. In 1904, she established The Green Sheaf Press which published a variety of novels, poems, fairy tales, and folktales until at least 1906, mostly by women writers. In 1907, Alfred Stieglitz gave an exhibition of Smith's paintings in New York at his Little Galleries of the Photo-Secession (also known as gallery , making Smith the first painter to have a show at what had been until then a gallery devoted exclusively to the photographic avant-garde. Stieglitz was intrigued by Smith's synaesthetic sensibility; in this period, Smith would paint visions that came to her while listening to music. The show was successful enough that Stieglitz issued a platinum print portfolio of 22 of her paintings and showed her work twice more, in 1908 and 1909. Some Smith works that did not sell remained with Stieglitz and ended up in the Stieglitz/Georgia O'Keeffe Archive at Yale University. Yeats introduced Smith to the Hermetic Order of the Golden Dawn, which she joined in 1901 and in the process met Waite. When the Golden Dawn splintered due to personality conflicts, Smith moved with Waite to the Independent and Rectified Rite of the Golden Dawn (or Holy Order of the Golden Dawn). In 1909, Waite commissioned Smith to produce a tarot deck with appeal to the world of art, and the result was the unique Waite–Smith tarot deck. Published by William Rider & Son of London, it has endured as the world's most popular 78-card tarot deck. The innovative cards depict full scenes with figures and symbols on all of the cards including the pips, and Smith's distinctive drawings have become the basis for the design of many subsequent packs. Apart from book illustration projects and the tarot deck, her art found little in the way of commercial outlets after her early success with Stieglitz in New York. Several examples of her works done in gouache were collected by her cousin, the American Sherlock Holmes actor William Gillette, and may be found today prominently displayed in his castle in Connecticut. In 1911, Smith converted to Roman Catholicism. After the end of the First World War, Smith received an inheritance from an uncle that enabled her to lease a house on the Lizard Peninsula in Cornwall, an area popular with artists. For income, she established a vacation home for Catholic priests in a neighboring house. Her longtime friend, Nora Lake, joined her in Cornwall and helped to run the vacation home. After several years of financial difficulty, Smith left the Lizard and relocated first to Exeter in 1939, and then to Bude in the early 1940s. Although she continued writing and illustrating, she was unable to find publishers for her work, probably due to changes in public taste following the First World War. Smith died in her apartment at the Bencoolen House in Bude on 18 September 1951. Her possessions were auctioned off to pay her debts. The location of her gravesite is unknown, but it is likely that she was buried in an unmarked grave in St. Michael's Cemetery in Bude.
Waite–Smith Tarot
"The Fool" card from the Waite–Smith tarot deck
The 78 illustrations that make up the Waite–Smith tarot deck "represent archetypal subjects that each become a portal to an invisible realm of signs and symbols, believed to be channeled through processes of divination." They are original works of art and unique in terms of the cards' stylization, draftsmanship, and composition, which is a significant aesthetic achievement. They are one of the best examples of Smith's imagination for fantasy, folly, ecstasy, death, and the macabre. When Smith's tarot was first published by Rider, in England, in December 1909, it was simply called Tarot Cards and it was accompanied by Arthur Edward Waite's guide entitled The Key to the Tarot. The following year Waite added Smith's black-and-white drawings to the book and published it as The Pictorial Key to the Tarot. In 1971, U.S. Games bought the right to publish the deck and published it under the title The Rider Tarot Deck (because of differences in U.S. and U.K. copyright law, the extent of their copyright in the Waite–Smith deck is disputed). In later editions they changed the name to Rider Tarot and then Rider Waite Tarot. Today most scholars, in order to recognize the importance of Smith's contribution, refer to the deck as the Waite–Smith Tarot.[16] Tarot writers often refer to the deck with the simple abbreviation of RWS, for Rider–Waite–Smith. In the century since the deck's first printing, there have been dozens of editions put out by various publishers; for some of these the Smith drawings were redrawn by other artists, and for others the cards were rephotographed to create new printing plates. Many versions have been recolored as the coloration is rather harsh in the original deck, due to the limitations of color printing at the time. One example is the 1968 Albano-Waite tarot, which has brighter colors overlaid on the same pen-and-ink drawings. Some recent U.S. Games editions have removed Smith's hand-drawn titles for each card, substituting text in a standard typeface. Altogether, these decks encompass the full range from editions very closely based on the original printings to decks that can at most be termed 'inspired' by the Waite–Smith deck. Waite is often cited as the designer of the Waite–Smith Tarot, but it would be more accurate to consider him as half of a design team, with responsibility for the major concepts, the structure of individual cards, and the overall symbolic system. Because Waite was not an artist himself, he commissioned Smith to create the actual deck. It is likely that Smith worked from Waite's written and verbal instructions rather than from sketches; that is, from detailed descriptions of the desired designs. This is how illustrators often work, and as a commercial illustrator, Smith would probably have been comfortable with such a working process. It appears that Waite provided detailed instructions mainly or exclusively for the Major Arcana, and simple lists of meanings for the Minor Arcana or 'pip' cards. Thus the memorable scenes of the Minor Arcana owe largely to Smith's own invention. The Minor Arcana are indeed one of the notable achievements of this deck, as most earlier tarot decks (especially those of the Marseilles type) have extremely simple pip cards. Smith's innovative illustrations for the Minor Arcana, with their rich symbolism, made the Waite–Smith deck a widely imitated model for other tarot decks.
Smith and Waite drew on a number of sources as inspirations for the deck's designs. In particular, it appears that Waite took his inspiration for the trumps mainly from the French Tarot of Marseilles (although the oldest date from the 16th century, his model was possibly a Marseilles deck from the 18th century). It is not unlikely that other Marseilles-type Italian tarot decks from the 18th or 19th century were used as additional models. For the pips, it appears that Smith drew mainly on the 15th century Italian Sola Busca tarot;[19] the 3 of Swords, for example, clearly shows the congruity between the two decks. In addition, there is evidence that some figures in the deck are portraits of Smith's friends, notably actresses Ellen Terry (the Queen of Wands) and Florence Farr (the World).
Smith completed the art for the deck in the six months between April and October 1909. This is a short period of time for an artist to complete some 80 pictures (the number claimed by Smith in a letter to Stieglitz in 1909 and corresponding almost exactly to the standard 78-card tarot deck). The illustrations were most likely done in pen and ink, possibly over a pencil underdrawing; the original drawings are lost so this cannot be determined with certainty at present. They were either colored with watercolor by Smith or colored by someone else after the fact.
en.wikipedia.org/wiki/Pamela_Colman_Smith
The occult has moved from secrecy to mainstream acceptance, and tarot card reading stands as a testament to this shift. The Rider-Waite deck, named after the mystic A.E. Waite and publisher William Rider and Son, is considered the definitive tarot deck. However, the captivating imagery and symbolism that define this deck come from the artistic genius of Pamela Colman Smith, a woman often forgotten in the history of the occult.
Smith, an artist with possible Jamaican roots, led a bohemian lifestyle and was introduced to the Hermetic Order of the Golden Dawn by the renowned poet William Butler Yeats. She joined the secret society, which explored occult and paranormal aspects, as well as philosophy and magic. There, she met A.E. Waite, who would later request her artistic talents in creating a new deck of divination cards. Despite the immense popularity of the Rider-Waite deck, Smith’s role in its creation was largely forgotten.
However, many tarot enthusiasts today have started acknowledging her contributions by calling it the “Smith-Waite” deck or using decks that feature her name prominently.
culture.org/the-unseen-mothers-of-the-occult-pamela-colma...
Edited image from the Rijksmusuem of a Flemish grotesque-design mask. (I found these on the Rijksmuseum by way of the Public Domain Review.)
Collage is made from public domain materials found via the Public Domain Review. The sky and rainbow are from Rainy Season in the Tropics (1866) by Frederic Edwin Church. Birds are from Trochilidae, plate 99 from Ernst Haeckel’s Kunstformen der Natur (1904) and (at center) Vol. 1 of The Natural History of Carolina, Florida, and the Bahama Islands (1754) by Mark Catesby and George Edwards. The egg shape at right is from Ascidiacea, plate 85 from Haeckel. Flowers are from Temple of Flora (1807) by Robert Thornton. Architectural setting is from Variae Architecturae Formae (1636), based on the forms of Dutch Renaissance architect Hans Vredeman de Vries (1527–c.1607). Done in ArtRage.
HOMÁGE A WAIN
Homenage a Louis Wain, basado en ilustraciones futuristas de Jean-Marc Côté.
Homage to Louis Wain, based on the futuristic illustrations by Jean-Marc Côté.
dangerousminds.net/comments/louis_wain_the_man_who_drew_cats
publicdomainreview.org/collections/france-in-the-year-200...
MS PAINT, 5 impresiones digitales sobre vinilo y bastidor de madera, 100x65 cms,c/u ,2013
MS PAINT, 5 digital prints on vinyl and wooden frame, 100x65 cms each, 2013
CONTACT: www.paraisofiscal.org/chapi-chap-
Image from the First Colour Publication on Fish (1754)
“Originally published in 1719, with a second edition in 1754, Poissons, Ecrevisses et Crabes can lay claim to being the earliest known publication in colour on fish — in this case, celebrating those hailing from the waters of the East Indies. This wonderful book is the creation of Louis Renard — a publisher, bookseller, and spy for the British Crown (employed by Queen Anne, George I and George II). This latter role, which saw him help guarantee the Protestant succession to the throne by denying James Stuart supplies, was not particularly secret and it seems Renard used the fact to add some intrigue to his books. This work, for example, is actually dedicated to George I, and the title-page describes the publisher as "Louis Renard, Agent de Sa Majesté Britannique".
All in all, across the two volumes, the book contains 100 plates bearing 460 hand-coloured engravings — a total of 415 fishes, 41 crustaceans, two stick insects, a dugong and, in a final foldout, a solitary mermaid. The engravings were supposedly based on drawings from life by the artist Samuel Fallours (active 1703–20) which belonged to Baltazar Coyett, Governor of Ambon and Banda (1694–1706), and to Mr Van der Stael, Governor of the Molucca Islands. There is no main text as such, only that found in and amongst the images, which tends to be anecdotal, mainly focusing on recipes as opposed to science.
If the illustrations are breathtaking to us now, with all the hours of David Attenborough documentaries under our belts, one can only imagine the impact this would have had on a European audience of the eighteenth century, to which the exotic ocean life of the East would have been virtually unknown. Even for today's most learned pescatologist, however, many of the illustrations might give some cause for surprise. Produced in two volumes, the images in the first part tend to be fairly realistic, but many in the second stray somewhat into the realms of fantasy, despite Renard's ardent claims of authenticity. As Glasgow University Library explains, "many of the fish bear no similarity to any living creatures. Inaccuracies are found in the addition of small human faces, suns, moons and stars to the flanks of fishes and the carapaces of crabs. It would also seem that colours were applied in a rather arbitrary fashion." It's the expressive faces and outlandish colours, in particular, which give so many of the fish a cartoon-like quality, almost as though cast portraits from some sassy ocean-based animation.”
publicdomainreview.org/collection/images-from-the-first-c...
The entire book can be accessed here:
Celestial Phenomenon Over Nuremberg, April 14th, 1561
publicdomainreview.org/collection/celestial-phenomenon-ov...
Edited Public Domain Review image of of the Bakemono Zukushi, a scroll describing various monsters and demons. The second image source discusses each monster in detail.
Image source: www.flickr.com/photos/publicdomainreview/42579644741/
and
Image source: publicdomainreview.org/collections/the-bakemono-zukushi-m...
Original caption: These wonderful images featured here are from a Japanese painted scroll known as the Bakemono zukushi. The artist and date is unknown, though its thought to hail from the Edo-period, sometime from the 18th or 19th century. Across it’s length are depicted a ghoulish array of “yokai” from Japanese folklore. In his The Book of Yokai, Michael Dylan Foster describes a yokai as:
a weird or mysterious creature, a monster or fantastic being, a spirit or a sprite … creatures of the borderlands, living on the edge of town, or in the mountains between villages, or in the eddies of a river running between two rice fields. They often appear at twilight, that gray time when the familiar seems strange and faces become indistinguishable. They haunt bridges and tunnels, entranceways and thresholds. They lurk at crossroads.
The class of yokai characterised by an ability to shapeshift, and that featured in this scroll, is the bakemono (or obake), a word literally meaning “changing thing” or “thing that changes”. The founding father of minzokugaku (Japanese folklore studies), Yanagita Kuno (1875–1962), drew a distinction between yurei (ghosts) and bakemono: the former haunt people and are associated with the depth of night, whereas the latter haunt places and are seen by the dim light of dusk or dawn.
Amongst the bakemono monsters depicted in the scroll is the rokurokubi (ろくろくび), a long-necked woman whose name literally means “pulley neck”. Whether shown with a completely detachable head (more common in Chinese versions), or with head upon the end of a long threadlike neck as shown here, the head of the rokurokubi has the ability to fly about independently of the body. In his 1904 collection Kwaidan, Lafcadio Hearn provides the first extended discussion of this yokai in English, telling of a samurai-turned-travelling-priest who finds himself staying the night in a household of rokurokubi intent on eating their guest.
Yuki-onna (“snow woman” – 雪女) appears on snowy nights as a beautiful woman with long hair. Details vary from region to region — in some parts a sighting would mean your spirit being drawn from your body, in other parts she asks you to hold her baby. Explanations for her vary too, for some she is the spirit of the snow, for others the ghost of a woman who perished in the snow, or even as a moon princess expelled from the sky-world. Yuki-onna again appears in Hearn’s Kwaidan, where she visits two woodcutters caught in a snowstorm, killing the older by blowing in his face, and promising to kill the younger if he ever tells of what happened (which, many years later, he does).
Kami-kiri (“hair cutter” – 髪切) is a yokai known for sneaking up on people and cutting off their hair. The phenomenon of people’s hair being mysteriously chopped appeared in many urban legends, in the Edo period in particular. Sometimes the chop would be attributed to a “demon wind”, but often to a creature doing the cutting, such as the kamikiri-mushi (a “hair cutting- insect”, likely in reference to the praying mantis, with its scythelike front limbs, and named a very similar-sounding kamakiri in Japanese). In the Bakemono zukushi, it appears with a bird like face and huge pincer hand brandishing the severed crop.
Below we’ve featured our highlights from the scroll (see the whole thing complete here), the digitisation of which appears to have come from the International Research Center for Japanese Studies – Yokai Database. Many thanks to Pink Tentacle, from whom we’ve taken the image descriptions. If you want to learn more about yokai in general then do check out Michael Dylan Foster’s fascinating The Book of Yokai.
Edited image from the Rijksmusuem of a Flemish grotesque-design mask. (I found these on the Rijksmuseum by way of the Public Domain Review.)
The Public Domain Review continues to dump out bizarre images onto its archive.
Shown here is a Japanese woodcut by Kamekichi Tsunajima titled “Ryūkō eigo zukushi”, or “A Fashionable Melange of English Words”. The print shows images of animals, activities and objects each with their Japanese and English names. Unfortunately (or perhaps fortunately) some spelling mistakes have given rise to some interesting new activities such as “Refreshiug” and “Cuting Rice”, and the “Gaot”, “Hoise” and “Tea Po”. The introduction of activities (including the very Zen-like “Looking Moon”) give an interesting take on the often more object-orientated Western equivalents. Also worth noting the interesting additions of “Cross Child” rather than simply “Child” , and “Blank Book” rather than “Book”.
(This image has been “restored” by Wikimedia user trialanderrors and is housed at Wikimedia Commons. The original can be found at the Library of Congress).
/ SML.20130123.SC.PublicMedia.PublicDomainReview.2013.01.23.a-fashionable-melange-of-english-words-1887
/ #SMLScreenshots #CCBY #SMLFineArt #SMLGraphicDesign #Crazyisgood #SMLUniverse #SMLPublicMedia #SMLORG
/ #PublicDomainReview #fashionable #melange #english #words #history #1887 #org #wtf #lol #screenshots #日本 #japan #history #woodcut #art #KamekichiTsunajima #Wikimedia #LibraryOfCongress
www.metmuseum.org/art/collection/search/338694
“Title: Big Fish Eat Little Fish
Artist: Pieter van der Heyden (Netherlandish, ca. 1525–1569)
Artist: Pieter Bruegel the Elder (Netherlandish, Breda (?) ca. 1525–1569 Brussels)
Publisher: Hieronymus Cock (Netherlandish, Antwerp ca. 1510–1570 Antwerp)
Date: 1557
Not on view
One of the most haunting of Bruegel's images, Big Fish Eat Little Fish is among the first of the artist's many treatments of proverbs in paintings or prints. The image reveals many small and large fish tumbling out of the mouth of an enormous beached fish. A small, helmeted figure with an oversized knife slices open the big fish's belly, revealing even more marine creatures. Land, air, and water seem to be overrun by an odd assortment of real and fantastic fish, while in the foreground a man, accompanied by his son, gestures toward the scene. The meaning of his gesture is conveyed in the Flemish inscription below, which translates: "Look son, I have long known that the big fish eat the small." This vernacular form of the ancient Latin proverb, which appears in majuscule lettering just above, relates to the theme of a senseless world in which the powerful instinctively and consistently prey on the weak. That the son understands the lesson is apparent from his gesture toward the other man in the boat, who has extracted a small fish from a larger one. Bruegel's brilliant visualization of the proverb was first conceived as a drawing (Vienna, Graphische Sammlung Albertina) that is signed by the artist and dated 1556. This engraving by Pieter van der Heyden, however, is signed in the lower left corner with the name Hieronymus Bosch, who had died in 1516. The print's publisher, Hieronymus Cock, was probably responsible for replacing Bruegel's name with that of the more famous and salable Bosch, who had, not coincidentally, a major influence on Bruegel.”
For more information about this masterpiece, please visit:
publicdomainreview.org/collection/bruegel-big-fish-little...
Image from the First Colour Publication on Fish (1754)
“Originally published in 1719, with a second edition in 1754, Poissons, Ecrevisses et Crabes can lay claim to being the earliest known publication in colour on fish — in this case, celebrating those hailing from the waters of the East Indies. This wonderful book is the creation of Louis Renard — a publisher, bookseller, and spy for the British Crown (employed by Queen Anne, George I and George II). This latter role, which saw him help guarantee the Protestant succession to the throne by denying James Stuart supplies, was not particularly secret and it seems Renard used the fact to add some intrigue to his books. This work, for example, is actually dedicated to George I, and the title-page describes the publisher as "Louis Renard, Agent de Sa Majesté Britannique".
All in all, across the two volumes, the book contains 100 plates bearing 460 hand-coloured engravings — a total of 415 fishes, 41 crustaceans, two stick insects, a dugong and, in a final foldout, a solitary mermaid. The engravings were supposedly based on drawings from life by the artist Samuel Fallours (active 1703–20) which belonged to Baltazar Coyett, Governor of Ambon and Banda (1694–1706), and to Mr Van der Stael, Governor of the Molucca Islands. There is no main text as such, only that found in and amongst the images, which tends to be anecdotal, mainly focusing on recipes as opposed to science.
If the illustrations are breathtaking to us now, with all the hours of David Attenborough documentaries under our belts, one can only imagine the impact this would have had on a European audience of the eighteenth century, to which the exotic ocean life of the East would have been virtually unknown. Even for today's most learned pescatologist, however, many of the illustrations might give some cause for surprise. Produced in two volumes, the images in the first part tend to be fairly realistic, but many in the second stray somewhat into the realms of fantasy, despite Renard's ardent claims of authenticity. As Glasgow University Library explains, "many of the fish bear no similarity to any living creatures. Inaccuracies are found in the addition of small human faces, suns, moons and stars to the flanks of fishes and the carapaces of crabs. It would also seem that colours were applied in a rather arbitrary fashion." It's the expressive faces and outlandish colours, in particular, which give so many of the fish a cartoon-like quality, almost as though cast portraits from some sassy ocean-based animation.”
publicdomainreview.org/collection/images-from-the-first-c...
The entire book can be accessed here:
Edited image from the Rijksmusuem of a Flemish grotesque-design mask. (I found these on the Rijksmuseum by way of the Public Domain Review.)
Image from the First Colour Publication on Fish (1754)
“Originally published in 1719, with a second edition in 1754, Poissons, Ecrevisses et Crabes can lay claim to being the earliest known publication in colour on fish — in this case, celebrating those hailing from the waters of the East Indies. This wonderful book is the creation of Louis Renard — a publisher, bookseller, and spy for the British Crown (employed by Queen Anne, George I and George II). This latter role, which saw him help guarantee the Protestant succession to the throne by denying James Stuart supplies, was not particularly secret and it seems Renard used the fact to add some intrigue to his books. This work, for example, is actually dedicated to George I, and the title-page describes the publisher as "Louis Renard, Agent de Sa Majesté Britannique".
All in all, across the two volumes, the book contains 100 plates bearing 460 hand-coloured engravings — a total of 415 fishes, 41 crustaceans, two stick insects, a dugong and, in a final foldout, a solitary mermaid. The engravings were supposedly based on drawings from life by the artist Samuel Fallours (active 1703–20) which belonged to Baltazar Coyett, Governor of Ambon and Banda (1694–1706), and to Mr Van der Stael, Governor of the Molucca Islands. There is no main text as such, only that found in and amongst the images, which tends to be anecdotal, mainly focusing on recipes as opposed to science.
If the illustrations are breathtaking to us now, with all the hours of David Attenborough documentaries under our belts, one can only imagine the impact this would have had on a European audience of the eighteenth century, to which the exotic ocean life of the East would have been virtually unknown. Even for today's most learned pescatologist, however, many of the illustrations might give some cause for surprise. Produced in two volumes, the images in the first part tend to be fairly realistic, but many in the second stray somewhat into the realms of fantasy, despite Renard's ardent claims of authenticity. As Glasgow University Library explains, "many of the fish bear no similarity to any living creatures. Inaccuracies are found in the addition of small human faces, suns, moons and stars to the flanks of fishes and the carapaces of crabs. It would also seem that colours were applied in a rather arbitrary fashion." It's the expressive faces and outlandish colours, in particular, which give so many of the fish a cartoon-like quality, almost as though cast portraits from some sassy ocean-based animation.”
publicdomainreview.org/collection/images-from-the-first-c...
The entire book can be accessed here:
License: Public Domain
Source: The Public Domain Review
Learn more about Meteor Showers on Wikipedia.
License: Public Domain
Source: The Public Domain Review
Learn more about Robert John Thornton on Wikipedia.
"Imagine stopping in a small, non-descript town on the way between here and there. You park your car, walk into the local diner and order some eggs, and maybe then some pie (damn good pie). The drive has been long and so you decide to take a walk to stretch your legs. Wandering down the little main street, you pass a store with a cluttered window; there are piles of gold-embossed books, a globe, a skull with a map to the unconscious etched onto it. You walk in and breathe in that sweet, sweet smell of musty books that always gets you. There’s a tabby cat curled up in the one spot of sun that has penetrated this temple of the esoteric and the forgotten.
These are the kinds of experiences that I’ve been led to believe are becoming endangered in the face of that great predator known colloquially as the internet. And yet, I recently had that very same dust-and-must-filled, heart-pattering feeling—the kind you get when surrounded by old books that nobody remembers and you never knew you wanted to read–while perusing, of all places, a website. The Public Domain Review is a beautifully curated collection of unusual and obscure books, images, sounds, and movies that the editors have dug up from the backrooms of the public domain and paired with a selection of new, longform essays that focus on this oft-ignored material. Books like The Medical Aspects of Death, and the Medical Aspects of the Human Mind and Wonderful Balloon Ascents, mingle with James Joyce’s newly public-domained Chamber Music, a pre-Dubliners collection of love poems. Buster Keaton’s hilarious slapstick gem The General is free to stream, the voices of Houdini and Florence Nightingale have been revived for the occasion, and some choice picture albums have been dusted off, including one of the spirit photographs of William Hope and one of the 1970s space colony art from NASA’s Ames Research Center. And all of them are rendered as beautiful facsimiles that perhaps don’t entirely recreate the experience of handling a book, but at least your allergies won’t kick in. In any case, browsing the site resulted in one of the most exciting, book-nerdy experiences I’ve had on the internet in a long, long time."
From: www.full-stop.net/2012/02/22/features/the-editors/full-st...
This image is in the public domain. en.wikipedia.org/wiki/Wikipedia:Public_domain_image_resou....
A GREAT resource for usable, remixable images in the public domain: publicdomainreview.org/
Edited image from the Rijksmusuem of a Flemish grotesque-design mask. (I found these on the Rijksmuseum by way of the Public Domain Review.)
Edited image from the Rijksmusuem of a Flemish grotesque-design mask. (I found these on the Rijksmuseum by way of the Public Domain Review.)
Edited image from the Rijksmusuem of a Flemish grotesque-design mask. (I found these on the Rijksmuseum by way of the Public Domain Review.)
Available to buy at Zazzle and Saatchi Online
Background from from EKDuncan-My Fanciful Muse, plums from Vintage Art Download and parrot from Birds from The Natural History of Carolina, Florida, and The Bahama Islands by Mark Catesby and George Edwards, published in 1754, and found on Public Domain Review.
Here's another project I was planning to tackle last year at around this time. This series of three glow-in-the-dark, mini-sized 1000 piecers is one of the more interesting releases by Japanese brand Tenyo, which is known mostly for being a specialist in Disney-themed motives.
This set was in print somewhat recently because I was able to buy them at retail price on Amazon about a year ago, but I suspect they are now retired.
According to this source Hokusai's "Ghost Stories" was created around 1830 when the artist was in his seventies. It was intended to be a series of 100 prints, but only 5 were ever made. (I believe that the Tenyo series only released these three, but I am not certain.)
The series is fruit of the tradition Hyakumonogatari Kaidankai (A Gathering of One Hundred Supernatural Tales), where Japanese friends would meet to share fantastically frightening tales from folklore and their own experience. Having lit a hundred candles, they would give their blood-curdling accounts, one by one, blowing out a candle after each, plunging themselves deeper into darkness. Upon the last candle going out, a spirit was said to appear.
Clockwise from top left:
Oiwa (Oiwa-san):
The young Oume falls in love with the married samurai Tamiya Iemon, and her friends try to get his wife Oiwa out of the picture with a gift of poisonous face cream. When Iemon abandons his newly disfigured wife, it sends her mad with grief. In her hysteria she runs and trips onto a sword, cursing Iemon with her dying breath — and then adopting various forms to haunt him, including a paper lantern.
The Mansion of the Plates (Sara-yashiki)
After the maid Okiku had accidentally broken one of a set of elegant Korean plates, her infuriated master bound her and threw her down a well, where she died in body but not spirit. In 1795, wells around Japan became infested with a species of worm covered in thin threads, which people believed to be a reincarnation of Okiku; the threads being the remnants of the fabric used to bind her. They named it “Okiku mushi” (the Okiku bug).
Kohada Koheiji
Based on a real event, the cuckold and murder victim Kohada Koheiji returns from the dead to torment his cheating wife and lover. Here he grins over the top of the mosquito netting that surrounds the bed of his killers.
To me, these prints are so modern-looking that it is hard to believe they were created nearly 200 years ago. Their influence on Western illustration and animation is obvious.
I had planned to do these as a mixed-puzzles project, but upon opening the first box I realized that these puzzles are identical to the infamous Tomax mini cut, and I don't need that much horror in my life, so this year, to celebrate the Halloween season, I will do Oiwa, before moving on to the Group Project.
License: Public Domain
Source: The Public Domain Review
Learn more about Robert John Thornton on Wikipedia.
License: Public Domain
Source: The Public Domain Review
Learn more about Robert John Thornton on Wikipedia.
License: Public Domain
Source: The Public Domain Review
Learn more about Robert John Thornton on Wikipedia.
Edited image from the Rijksmusuem of a Flemish grotesque-design mask. (I found these on the Rijksmuseum by way of the Public Domain Review.)
License: Public Domain
Source: The Public Domain Review
Learn more about Carnations and Robert John Thornton on Wikipedia.
I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.
More information at fransimo.info/?p=1100
ID:338d8a144e3b0323ce33ca3408879cfd
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License: Public Domain
Source: The Public Domain Review
Learn more about Dracunculus vulgaris and Robert John Thornton on Wikipedia.
I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.
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ID:338d8a144e3b0323ce33ca3408879cfd
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License: Public Domain
Source: The Public Domain Review
Learn more about Dragon Arum and Robert John Thornton on Wikipedia.
I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.
More information at fransimo.info/?p=1100
ID:338d8a144e3b0323ce33ca3408879cfd
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License: Public Domain
Source: The Public Domain Review
Learn more about Robert John Thornton on Wikipedia.
Edited image from the Rijksmusuem of a Flemish grotesque-design mask. (I found these on the Rijksmuseum by way of the Public Domain Review.)