{ feuilleton }

Wendel Dietterlin’s Architectura

While looking through my bookshelves recently for examples of Baroque architecture I was reminded of the eccentric designs of Wendel Dietterlin (c. 1550–1599), a German painter and engraver whose Architectura (1598) is less a guide to architectural form than an excuse to indulge the artist’s fervid imagination. This wasn’t really the reference material I was after—Dietterlin is pre-Baroque—but I’d not seen so much of his work in one place before. Dover Publications have reprinted all of these plates for many years as The Fantastic Engravings Of Wendel Dietterlin but it’s one Dover book I’ve never owned.

“Fantastic” is an apt description. Where a similar study might present the reader with careful elaborations of Vitruvian principles, Dietterlin offers plate after plate of suggestions for portals, fountains, fireplaces and facades, many of which are festooned with bizarre and grotesque details. Wild animals are a persistent theme. Other artists of the period tended to favour mythological scenes for fountain sculpture; Dietterlin shows a series of large animals being attacked by smaller ones: bear versus dogs, dragon versus men, and so on. Similar groupings may be found on his designs for rustic arches. Ostensibly these are traditional hunting scenes but there’s a fury in Dietterlin’s renderings that pushes the representations away from the decorative towards the pathological.

In other designs the wildness is transferred to the decoration itself. Examples of the traditionally sober orders of Classical architecture are shown encrusted with decorations added at the whim of the artist; Dietterlin wasn’t the only artist to do this but other artists are seldom this excessive. Strangest of all is the plate that shows a huge elephant standing before (or emerging from) a fireplace. René Passeron included a handful of engraving artists in the precursors section of his Concise Encyclopedia of Surrealism in 1975, but Dietterlin isn’t among them. I’d say that elephant alone is suitable qualification, a forerunner of Magritte’s Time Transfixed, as well as a literal (if inadvertent) representation of “the elephant in the room”.

Continue reading “Wendel Dietterlin’s Architectura”

Weekend links 628

Collage art by Alex Eckman-Lawn at Unquiet Things.

• “…I love those niches and fringes in the creative world. I believe they deserve our support. But in most instances, this support must be driven by our generosity, philanthropy, and commitment to our core values—and not merely by profit seeking. Because as soon as profit maximization enters the picture, these outliers on the distribution curve don’t make the cut.” Ted Gioia explores the myth of “the Long Tail”.

• “Here we were, an Italian, an Englishman and an American in Munich, three foreigners in a foreign land—it was an accident we got together in the first place.” Pete Bellotte talking to Jude Rogers about the recording of I Feel Love by Donna Summer, a cult item in these quarters. Most of the history is very familiar but I didn’t know that Bellotte is a Mervyn Peake obsessive.

• The radical, revolutionary homoerotic art of Sadao Hasegawa. Writing about the artist in 2007 I said that “a decent collection of his work for a western audience is long overdue”; we finally have such a thing courtesy of Baron Books.

• At Wormwoodiana: Undefined Boundary: The Journal of Psychick Albion, a magazine by the creators of the Coil zine, Man is the Animal, that “aims to celebrate the visionary, psychedelic and numinous in Britain”.

• Dennis Cooper’s favourite fiction, poetry, non-fiction, film, art, and internet of 2022 so far. Thanks again for the link here!

• New music: Devotional by The Lord + Petra Haden, Dreamtides by Field Lines Cartographer.

• Fall Into Sleep by K Of Arc.

• Psychic Fire (1975) by Master Wilburn Burchette | The Psychic (1995) by David Toop | Psychic Wounds (2020) by Trees Speak

Goodfellow and Borges

Last week’s story search had me looking through this handful of Penguin volumes again, all of which have cover illustrations by Peter Goodfellow. These were the first Borges books I bought, beginning with the Labyrinths collection in 1985. The Book of Sand is two volumes in one—The Book of Sand and a late poetry collection, The Gold of the Tigers—with cover art suitable for both. I used to think that the covers of the other books were pastiching or quoting well-known artists but now I’m not so sure. Two of them definitely are quotes or pastiches: The Book of Imaginary Beings is a play on the weird growths you find in Hieronymus Bosch, while Doctor Brodie‘s contemplative skeleton is from the famous anatomical engravings in De Humani Corporis Fabrica by Andreas Vesalius, with some Chinese or Japanese landscape details added to the background.

Two positive artistic references suggested that the other covers might follow suit, so I used to take the Labyrinths cover as a vague reference to the anomalies that Salvador Dalí would situate in his desert vistas, while A Universal History of Infamy was de Chirico, perhaps, although this no longer seems certain at all. Those columns look like Bernini’s double colonnade from Saint Peter’s Square in Rome, not a Turin arcade, and the picture lacks the disjunctive perspectives you find in de Chirico’s “Metaphysical” paintings. The pastiche thesis is further diluted when you discover that Goodfellow had been quoting from Bosch as far back as his cover for Ursula Le Guin’s Rocannon’s World in 1972, while he borrowed another skeleton from Vesalius for Structures by JE Gordon. Sometimes you can reach too far for meaningful connections.

The Bosch-like cover does seem to have had an enduring influence, however. When Penguin published the Collected Fictions in the UK in 1999 they used a detail from Bosch’s Garden of Earthly Delights for the artwork. Bosch details turned up on a later edition of A Universal History of Infamy, and have subsequently appeared on a series of Turkish Borges editions. Not a bad choice for a writer whose fictions offer universes of possibility.

Elsewhere on { feuilleton }
• The book covers archive
• The illustrators archive

Previously on { feuilleton }
• The Rejected Sorcerer
• The Immortal by Jorge Luis Borges
• Borges on Ulysses
• Borges in the firing line
• La Bibliothèque de Babel
• Borges and the cats
• Invasion, a film by Hugo Santiago
• Spiderweb, a film by Paul Miller
• The Library of Babel by Érik Desmazières
• Books Borges never wrote
• Borges and I
• Borges documentary
• Borges in Performance

Art on film: Space is the Place

Mescaline Woods (1969) by Gage Taylor.

Continuing an occasional series about artworks in feature films. This is more of a trivial example than the epic study of Providence but it seems worth mentioning when the art and the film in question aren’t so familiar.

Encounter (1971) by Gage Taylor.

Last week my friend Jay Babcock was asking on his Substack newsletter for other examples of the utopian hippy landscape art that flourished in the 1970s. I recommended the paintings of Gage Taylor (1942–2000), an artist who was part of the loose movement known as the Californian Visionaries during that decade; paintings by the group were showcased in the Visions book published by Pomegranate in 1977, and shortly thereafter could be found in the early issues of OMNI magazine. Taylor was a prime exponent of slightly fantastic, idealised landscapes with titles like Mescaline Woods, painted in a style which, for the most part, he managed to prevent from becoming too saccharine. Encounter is a typical example: a quartet of naked hippies wandering through an Arcadian scene bordered by decorative cannabis leaves. The painting is definitely utopian in asking us to accept a clothes-free hike along a trail with no concern for sharp stones or injurious plants and animals.

Looking through Visions again, and at this painting in particular, I was struck by the foreground group of floating alien creatures which I belatedly realised are the origin of the aliens from the opening scenes of Space is the Place (1974), the Sun Ra feature film directed by John Coney. And after watching those scenes again, details from Taylor’s paintings (including Mescaline Woods) turn up as brief establishing shots of the planet where Sun Ra has landed his spacecraft, something I’d missed entirely. Taylor is credited as one of the set decorators so I’d guess he made the alien creatures himself. I’d have been happy with more of the cosmic weirdness and less of the Blaxploitation clichés that pad out the later scenes but with films as unlikely as this we have to be thankful they exist at all. At its best Space is the Place approaches the delirium of The Holy Mountain, albeit on a much lower budget; Sun Ra and the villainous Overseer even play a game to decide the fate of the Earth using a unique pack of Tarot cards.

Another more obvious external reference in the opening scenes is the cowled and mirror-faced individual that Sun Ra talks to, a figure taken from Maya Deren’s Meshes of the Afternoon. Deren’s film in 1974 wasn’t the cult item that it is today so this is an opportunistic swipe on the part of the film-makers, but the borrowing allows us to regard Mirror-face as the same character in both films. Watch them together.

Previously on { feuilleton }
• Art on film: Providence
• Art on film: The Beast
• Meshes of the Afternoon by Maya Deren

Weekend links 627

Cover art by Alan Aldridge for The Secret Life of Plants, 1975. Via.

• At Aquarium Drunkard: Alice Coltrane and band in a furious live performance at the Berkeley Community Theatre, 1972. The audio is on YouTube, and was also released on (unofficial) vinyl a couple of years ago, but you can download the whole set at Dimeadozen. (Free membership required.)

• “Black Square is tragic; it’s absurd; it can be bewildering or funny; it’s certainly metaphysical; and now it serves as a precursor for works and projects yet to be imagined.” Andrew Spira on the precursors of Black Square by Kazimir Malevich.

• “The possibility of plant consciousness cuts two ways, depending on whether you see plants as friend or foe, benevolent or threatening.” Elvia Wilk on the secret lives of plants.

• New/old music: Robot Riot by Stereolab. A previously unreleased recording from the mid-90s which will appear on the fifth instalment in the Switched-On compilation series.

• “Dare’s good, but Love And Dancing broke the mould and kicked off the whole modern dance scene.” Ian Wade on 40 years of remix albums.

• Coming soon from Strange Attractor: Arik Roper: Vision of The Hawk.

• At Unquiet Things: Deborah Turbeville’s unseen Versailles.

• “Thinking like a scientist will make you happier”.

• At Dennis Cooper’s: Karel Zeman Day.

• Plantasia (1976) by Mort Garson | Musik Of The Trees (1978) by Steve Hillage | The Secret Life Of Plants (1979) by Stevie Wonder