A journal by artist and designer John Coulthart.
Art
Magazineart.org has a great selection of covers from the golden age of illustrated American magazines. Not complete by any means but there’s some great art and design there, and the covers of Science and Invention are especially fun. Interesting to see that the technique of having a figure or object partly obscure the magazine title isn’t a recent invention at all.
Oscar Wilde’s novel was filmed by Albert Lewin in 1945, a great adaptation with Hurd Hatfield playing Dorian, George Sanders as the aphoristic Lord Henry and Angela Lansbury as Sybil Vane. Lewin made a number of respectably arty films during the Forties and Fifties but Dorian Gray has always seemed the best to me, even if I am biased towards the story.
The film was shot in black and white but views of the painting were shown in colour. For the final view of Dorian’s decayed portrait he commissioned the hyper-real artist Ivan Albright (1897–1983) whose shockingly grotesque picture (below) provides a memorable climax to the film. That painting now resides in the Art Institute of Chicago.
Update: added a “before” view of the painting.
Update 2: added a link to a recent Wikipedia copy of the “after” picture that’s larger than previously available versions.
Elsewhere on { feuilleton }
• The Oscar Wilde archive
Charles Méryon (1821–1868) made his name producing etchings of the city of Paris, and became as accomplished at rendering the solidity of architecture as Piranesi. Méryon manages to do for the City of Light what Piranesi did for the Eternal City with his famous Vedute di Roma, celebrating the buildings whilst paying careful attention to the glamour of deterioration. I looked at the work of Méryon and Piranesi a great deal when embarking on my Lovecraft adaptations and still regret not buying an expensive (for the time) book of Méryon’s work in the late 1980s. Happily there are plenty of museum websites with his etchings in their collections.
Elsewhere on { feuilleton }
• The etching and engraving archive
Something I’ll definitely be going to see, especially given the emphasis on Georges Bataille. Above: André Masson’s cover design for the first issue of Bataille’s Acéphale (1937).
UNDERCOVER SURREALISM: Picasso, Miró, Masson and the vision of Georges Bataille. The Hayward Gallery, London, 11 May–31 Jul 2006.
This major Surrealist show, curated by Surrealism specialist Dawn Ades, documents the extraordinary cross-currents of Paris in the late 1920s, through painting, film, sculpture, music, photography, masks, ritual objects – all subject to the provocative vision of Georges Bataille.
Featuring works by Miró, Dalí, Giacometti, Brancusi, Boiffard, de Chirico, Arp, Nadar and Ernst, and an entire room of works by Picasso, it brings together loans from major collections around the world.
Bataille waged war on the “idealism” of the Surrealist movement, using his famous magazine DOCUMENTS as his weapon. Undercover Surrealism takes his magazine’s subversive juxtapositions as its starting point, and shows how Bataille unflinchingly exposed the raw underbelly of the human creative impulse.
The Hayward Gallery first explored Surrealism almost 30 years ago in its legendary 1978 show, Dada and Surrealism Reviewed, co-curated by Dawn Ades. Ades, now regarded as one of the world’s greatest Surrealism experts, returns to curate this exhibition.
