November

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No sun–no moon!
No morn–no noon!
No dawn–no dusk–no proper time of day–
No sky–no earthly view–
No distance looking blue–
No road–no street–no “t’other side this way”–
No end to any Row–
No indications where the Crescents go–
No top to any steeple–
No recognitions of familiar people–
No courtesies for showing ’em–
No knowing ’em!
No travelling at all–no locomotion–
No inkling of the way–no notion–
“No go” by land or ocean–
No mail–no post–
No news from any foreign coast–
No Park, no Ring, no afternoon gentility–
No company–no nobility–
No warmth, no cheerfulness, no healthful ease,
No comfortable feel in any member–
No shade, no shine, no butterflies, no bees,
No fruits, no flowers, no leaves, no birds–
November!

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That poem by Thomas Hood (1799–1845) pins down some of the reasons why I’m usually glad to see the back of this month. The weather this weekend has been the kind of cold and mist for which the word “dreary” might have been specially created. A thin smear of mist, quite unworthy of photographic effort. Three years ago, another November afternoon spent walking along the South Manchester stretch of the River Mersey yielded these fog-drenched views.

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The Kelpies

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Maquettes from which the final works will be produced.

Given the choice between Thomas Heatherwick’s B of the Bang sculpture—a vast bundle of metal spikes situated near the City of Manchester Stadium—and Andy Scott’s proposal for The Kelpies, a pair of giant horse heads due to be erected in Falkirk, Scotland, I’d probably prefer the latter as a piece of colossal public art. Horse heads, from the Selene horse of the Parthenon onwards, are especially suited to statuesque representation and the horse has a venerable history as a symbol in the British countryside. It should be noted that between the two works, Andy Scott has the better location, Heatherwick’s giant piece is stuck in a redeveloped area near busy roads which makes its rusted spikes seem like leftovers from the stadium’s construction. He’s also been unfortunate in having created a work which began falling apart as soon as it was finished, with falling spikes causing a public hazard and a lengthy row with Manchester City Council which was only resolved this week.

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Scott’s enormous horse heads will be standing alone and monumental in newly-created parkland, symbolically representing a gateway to Scotland as they flank and help operate a canal lock. Kelpies is the name for the “water-horses” of Scottish myth and Scott’s Kelpies will stand 35 metres high, taller than the Angel of the North. Unlike Anthony Gormley’s static monument they’ll move back and forth as the level of the locks rises and falls. Scott’s website has more pictures of the maquettes as well as photos of his other public works.

Update: ‘Bang’ sculpture to be taken down

The Kelpies at Falkirkonline
Meet the Kelpies, Scotland’s giant addition to the UK sculptural skyline

Previously on { feuilleton }
Dark horses
Planet by Marc Quinn

Last in Line by Light Syndicate

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Last in Line is the debut album by Manchester band Light Syndicate and the CD packaging is something I put together after being asked to rescue a design which wasn’t quite working. I kept the band’s original idea of black trees on a red background but substituted their drawing with an adaptation of a 1910 folk tale illustration by Reginald Lionel Knowles. Knowles’ name is an obscure one today, his most visible work being the florid endpaper design which the Everyman Library used on their books up to 1935.

Last in Line is available locally from today (I guess that means Piccadilly Records) and nationwide from January 12th.

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Elsewhere on { feuilleton }
The illustrators archive

1 Top Class Manager

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1 Top Class Manager is a book bearing the subtitle “The notebooks of Joy Division’s manager, 1978–1980” published this week by Anti-Archivists, Manchester. I’ve been working on the design for this on and off since March although we actually started putting it together this time last year.

Rob Gretton, manager of Joy Division and later New Order, died in 1999 so this is something of a memorial to his work in giving Joy Division the status they have today. Rob’s widow, Lesley, oversaw (and paid for) the production. She and editor Abigail Ward contributed much to my design efforts which underwent considerable back and forth adjustment until we had something everyone was happy with. Some spreads from the book follow below and when I get the time I’ll add larger page views to the book design section of the main site. Music critic and historian Jon Savage wrote the foreword. This was an exciting and fascinating project to be involved, not least for the wealth of rare documentary material which it reveals.

1 Top Class Manager is available via mail order from the book’s website.

Continue reading “1 Top Class Manager”

Holman Hunt and the Pre-Raphaelite Vision

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The Hireling Shepherd by William Holman Hunt (1851).

Holman Hunt and the Pre-Raphaelite Vision is an exhibition of Victorian paintings at Manchester’s City Art Gallery which they describe as “the first international exhibition in over 40 years dedicated to the life and work of Pre-Raphaelite master William Holman Hunt.” It helps that they own some prime examples of Hunt’s work, including The Hireling Shepherd, a painting I used to look at a great deal when I first moved to Manchester.

This isn’t my favourite Holman Hunt work—that would be The Lady of Shalott—but The Hireling Shepherd has a wealth of the insane detail which was his forte. For anyone who’s tried painting in this hyper-real manner it’s good seeing how he rendered the flowers, grass and fabrics. The picture is laden with typical Victorian morality, of course; the shepherd is distracted so his flock is straying. That never interested me, far more fascinating was looking at the original of the work which Brian Aldiss uses in his experimental science fiction novel, Report on Probability A (1968). In one of Aldiss’s parallel universes Holman Hunt’s painting is exactly the same as the one we know but for the addition of a book entitled Low Point X which can be seen lying incongruously on the grass. Whenever I’ve been in the City Gallery I’m always disappointed that the book is missing from the picture.

Holman Hunt and the Pre-Raphaelite Vision runs to 11 January 2009.