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Lewis, Angharad - Hyland, Angus - The Purple Book - Symbolism & Sensuality in Contemporary Art & Illustration-Laurence King Publishing (2013)
Lewis, Angharad - Hyland, Angus - The Purple Book - Symbolism & Sensuality in Contemporary Art & Illustration-Laurence King Publishing (2013)
Lewis, Angharad - Hyland, Angus - The Purple Book - Symbolism & Sensuality in Contemporary Art & Illustration-Laurence King Publishing (2013)
PURPLE
THE
PURPLE
Page 209
illustrated by Vania Zouravliov BIOGRAPHIES
FOREWORD
If roses are red and violets are blue, then any flower that been credited with the idea of its yellow cover and thus its
lies chromatically in between the two must be considered name. While The Yellow Book is more a touchstone than a
one of the many variants of purple. Purple is an enigmatic direct ancestor, there is no doubt that it has inspired The
non-spectral colour; it is absent from Newton’s colour Purple Book’s form as a lavishly illustrated marriage of art
wheel, which moves directly from violet to red. There is and literature. Beneath the decorative detail inherent in
no such thing as the ‘wavelength of purple light’; it exists much of the work, there is a surrealist undercurrent that
only as a combination. Perhaps that is why this enigmatic weaves its way through these fantasies, connecting the
colour has such a shifty reputation: it is a chimera. Partly texts, whether symbolist or gothic. It is the theme of a
elitist, as in the priceless Tyrian, or imperial, purple which lucid and sensual dream, a vision of beauty imbued with
in antiquity was made from the crushed shells of thousands mortality and on the point of decay, a vision at one with
of purpura sea snails and was the vivid colour of the sails the dominant aesthetic of the Decadent Movement.
on Cleopatra’s barge, purple is also seen as artificial, most
notably in Mauveine, the first industrialized aniline dye Many of the artists featured here share both a particular
created in the 1890s. The name mauve was first coined aesthetic vision and a commitment to the hand-drawn
by Sir William Henry Perkin, the chemist who in 1856 image. It is as though the qualities of highly detailed and
created the dye for cloth. So popular was the colour with decorative graphic art imbue a deeper sensuous emotional
the late Victorians that the 1890s became known as the core. This is certainly true when one compares the work
Mauve Decade. Not entirely respectable, however, mauve in this book with the more immediate and ephemeral
(then much deeper in shade than our faded contemporary art forms that dominate our visual culture today. Such
understanding of it) was identified with decadence, intensity results in a powerful fetishism – in the original
occultism and not unsurprisingly, artificiality. meaning of the term.
The themes of sensuality and symbolism explored within Published at a time when the anodyne and standardized
the art of The Purple Book have their origins in the period showcase of artwork has become something of an
leading up to the fin de siècle and the last flowering of the anachronism, The Purple Book looks back to a tradition
Aesthetic Movement retitled as the Decadent Movement. of the beautifully crafted publication; a book for book’s
The most notorious periodical of the 1890s was The Yellow sake (art for art’s sake in the decorative spirit of la belle
Book, a magazine whose literary content was as innovative époque). It is the only way forward for the printed book, as a
as its graphic design. Aubrey Beardsley, its first art editor tangible and sensual object of beauty and desire – anything
and the most influential illustrator of his generation has else would be a waste of good material.
7
INTRODUCTION
Angharad Lewis
9
The illustrations made to accompany the 2,000-year-old Hindu love-making
manual the Kama Sutra; volumes of Japanese erotic Sunga prints by artists of
the Ukiyo-e; pornographic art portfolios of privileged Victorian gentlemen;
and popular, risqué French novels of the fin de siècle: books are a long-established
forum for erotic illustration.
‘The story of man is fossilized for us, as it were, or rather preserved
with all its semblance of life and colour in art and books,’ writes Walter Crane
2 Walter Crane, The Decorative in his 1896 publication The Decorative Illustration of Books2. The history of
Illustration of Books, 1896 book illustration — the way it has evolved through and been appropriated
by art movements like Symbolism and Surrealism — feeds the work of many
contemporary artists featured in The Purple Book. Drawings and stories have
held each other in an intimate embrace since the earliest human mark-making
on cave walls, but at certain points in history the arts of verbal and visual
storytelling have stepped out flamboyantly in public together. The social
context of Victorian England and the era’s advances in printing technology made
illustrated books and magazines a playground for artists who gave expression
to the moral tensions of the day, and in the 1890s there was a blooming of book
illustration. ‘A brilliant band of illustrators and ornamentalists have appeared...
and nearly every month or so we hear of a new genius in black and white who is
3 Walter Crane, ibid to eclipse all others,’ wrote Crane in 18963.
While William Blake’s visionary genius had laid the path for intense
fusions of word and image with sensually euphoric compositions like The
Marriage of Heaven and Hell (1790–93), what emerged in the work of Victorian
and early twentieth-century artists and illustrators was an outward expression
of society’s hidden erotic sensibilities. They ranged from the subtle to the
outrageous. Illustrators such as Virgil Burnett and Arthur Rackham wrapped
sensuality up in dense fairy-tale narratives and even denser visual detail.
Aubrey Beardsley, on the other hand, was flagrant in his depictions of forbidden
pleasure, and the enfant terrible of the Decadent movement is still a touchstone
of both graceful style and impish, salacious storytelling for illustrators
today. Beardsley ‘gave style to the unspeakable and provided a forum for the
forbidden’4. The delicate lines and ornate detailing of Makiko Sugawa’s work
(pages 122–23, 169) give a clear nod to Beardsley’s legacy, as do the heady
atmosphere and Salomé-like heroines of Tim Hon Hung Lee’s work (pages 57,
86, 200). Likewise, Jules Julien cites Beardsley as an inspiration for the specially
commissioned illustrations he created to accompany an extract from Georges
Bataille’s erotic novella Story of the Eye in this book (pages 107–15).
Victoriana is a clear source of inspiration for Dan Hillier (pages
92–95, 162–63), whose collaged work references both Victorian book
illustration and the work of Surrealist artist Max Ernst. Ernst’s Une Semaine
de Bonté published in 1934 is a visual stream-of-consciousness experiment
collaging together fragments of Victorian book illustrations to conjure up an
unsettling new narrative. Hillier’s work is a twenty-first century version of this
— highly finished and decorative but no less poetic.
The lineage between the Symbolist art and literature of the nineteenth
Max Ernst century and Surrealism in the twentieth century is traceable through the
plate from Une Semaine de Bonté, 1934 admiration of the latter artists for the former, and shared elements of sex and
fantasy — the writing of Guillame Apollinaire, father of concrete poetry, erotic
novelist and inventor of the term ‘Surrealism’, bridged the Symbolists and
4 Mum’s the Word, Eros In the Mind’s Surrealists; founder of the Surrealist movement and publisher of its manifesto
Eye, page 60 André Breton was a devotee of Gustave Moreau; and Marcel Duchamp was a fan
5 Michael Gibson, Symbolism, of Arnold Böcklin5. The connection between the two movements is also laid
Taschen, 2011, page 8 bare in their fetishization of the female body and the figure of the femme fatale
— a theme that continues to obsess our Purple Book artists.
The Symbolist movement, which dominated European art and
literature in the late nineteenth century, opened art up to the power of the
imagination, as opposed to realism, and freed up a space for dream-like visions
and expressions of the human psyche. Rather than rational depictions of the
world, Symbolist art — and its counterparts Decadence and Aestheticism —
Arthur Rackham
Fasolt Suddenly Seizes Freia and Drags Her to One Side with Fafner, colour litho,
illustration from The Rhinegold and the Valkyrie by Richard Wagner 1910
11
Frederick Sandys
Proud Maisie, pencil & red chalk on paper, 1893
projected the inner world of the imagination outwards. While some Victorian
painters upheld the idealized view that society imposed on itself, with images
of domestic utopia and and sanitized views of the effects of industrialization,
others were not afraid to hint at the darker side of Victorian life. The English
Symbolists filled their work with visual clues and signs to represent a far-
from-innocent ideal. ‘Talismanic parts of the female body that were repeated
in picture after picture,’ writes Griselda Pollock in Vision and Difference —
‘eyes, lips, hands, rippling hair. At one level these must be called symbols of
eroticism. Their Symbolic reference is not so much to the characteristics of
6 Elizabeth Prettejohn, Rossetti the depicted woman as to those of male desire’6. Other symbols loaded with
and his Circle, Tate Gallery Publishing, meaning took the form of flowers, fruit and objects like books and mirrors.
1997, page 26
Lilies stood for purity and innocence, poppies for death, roses for love, apples
for temptation and books for virtue. In work by artists like Dante Gabriel
Rossetti, William Holman Hunt and Edward Burne-Jones women were shown
absorbed in self-contemplation at the dressing table mirror, or combing their
hair. Hair as a symbol of sexuality endures — Victorian artist Frederick
Sandys’s famous Proud Maisie (opposite) has counterparts today in the hair-
obsessed work of illustrators Laura Laine (page 18–43), Daisy Fletcher
(pages 50–51, 170–71), Yuko Shimizu (pages 58–59, 134–35, 156–57), Yukari
Terakado (pages 118, 202–3, 206–7) and Martine Johanna (pages 174–88, 191).
These contemporary female illustrators, however, have reclaimed the erotic
depiction of the female body for a new post-feminist narrative.
Symbolic images of women have often fallen at the extremes of two
potent poles: the submissive victim and the dominant femme fatale. The name of
the Austrian writer Leopold von Sacher-Masoch gave us the term ‘masochism’
and his 1870 novella Venus in Furs tells the tale of a man who is sensually
aroused by the idea of being dominated by a beautiful woman dressed in furs
— an archetypal femme fatale. But in characterizing her, Masoch describes the
dichotomy that the nineteenth-century Western mind imposed on women —
the faithful wife versus the sexualized mistress; the insipid, so-called ‘angel
in the house’ or the dangerous whore. The anti-hero of Venus in Furs, Severin,
throws himself (both literally and metaphorically) at the feet of his mistress
Wanda. Ostensibly he seems to be the subjugated party, but ultimately he seeks
to trap her with a sexual pact.
Masoch’s characters embody the tensions in the way that both
wider society and the male-dominated art world of the nineteenth century
struggled to come to terms with the representation of women. On the one
hand, women were muses, idealized beauties, like the succession of wives,
mistresses and models immortalized in the work of English Pre- Raphaelite
and Symbolist painters like Burne-Jones, William Morris and Rossetti. On the
other hand, women were seen as dangerous — for men to submit to lust was
a moral failure that meant risking not only social stigma but also, apparently,
Aubrey Beardsley disease and death. In this climate the suggestion of illicit acts and half-hidden
illustration for frontispiece (litho), A Full and True visual innuendo, became an exciting game to play. Moral panic in wider society
Account of the Wonderful Mission of Earl Lavender, which over issues like prostitution in the late nineteenth century had an opposite
Lasted One Night and One Day, by John Davidson, 1895 effect in permissive bohemian art circles, where a decadent interest in sensual
and aesthetic pleasures was courted, epitomized by admiration for Charles
Baudelaire, with his interest in vice and dangerous sensual pleasure as artistic
pursuits. ‘Only when we drink poison are we well,’ runs the line in Baudelaire’s
7 Charles Baudelaire, extract Les Fleurs du Mal, ‘— we want, this fire so burns our brain tissue, / to drown
from ‘Le Voyage’ in Les Fleurs du in the abyss — heaven or hell, / who cares? Through the unknown, we’ll find
Mal, 1857
the new.’7 Masochism also had a titillating side: Beardsley relished depicting
the whip-wielding heroine for his frontispiece to John Davidson’s comic novel
published in 1895 (see left). The proximity of love to danger, and sex to death
remain a strong visual theme of the work of today’s artists in The Purple Book,
as evinced by the proliferation of skulls, decay and ghostly forms in the work of
illustrators like Izzie Klingels (pages 60–61, 90–91, 116), Sam Wolfe Connelly
(pages 96–97, 126–27), Tim Hon Hung Lee (pages 57, 86, 200), Yukari
Terakado (pages 118, 202–3, 206–7) and Jules Julien (pages 99, 114, 117).
13
The femme fatale is a trope central to ‘Szamota’s Mistress’, the short
story written in 1918–22 by Polish writer Stefan Grabinski illustrated for The
Purple Book by graphic artist Andrzej Klimowski (pages 147–54). The female
character in the story is at once erotic and deadly, hypnotically alluring but
ultimately repulsive. Klimowski discusses the hallucinatory qualities of the
story and the use of stream-of-consciousness in his work in the interview
on pages 137–44. The use of dream-like states and stream-of-consciousness
are also characteristics that connect writing and art via another Purple Book
commission — the words of Molly Bloom’s soliloquy in the novel Ulysses by
James Joyce (1922), illustrated by Martine Johanna (pages 183–88). James Joyce
shared terrain with the Surrealists through a mutual interest in Freud and the
workings of the unconscious mind. There are parallels between Joyce’s stream-
of-consciousness style and the Surrealists’ use of automatic writing.
For the Surrealists, women were a focus of obsessive adoration,
and unlike in paintings by the likes of Rossetti where women are limpid and
highly decorative, Surrealism celebrated a more powerful image of femininity.
Aubrey Beardsley
Philippe Jullian compares Symbolism and Surrealism in Dreamers of Decadence:
Enter Herodias, from the series Salomé, 1899
‘If there are considerable resemblances between the two movements they
differ completely in the way in which they express themselves. Surrealism is
aggressive: its Baudelairean penchant for shocking the bourgeois has turned
into a feeling of positive hatred... There is more vitality too in the Surrealists;
they may be precious but they are never languid. What is more, they adore
women. In the matter of inspiration Freud has turned everything topsy-turvy:
the analysis of dreams gives rise to a very different aesthetic from one based
8 Philippe Jullian, Dreamers on aspirations towards a world of dreams... With heroes like de Sade and
of Decadence, Praeger Publishers, Lautréamont, Surrealism becomes a black Symbolism’8.
1969, pages 223
The pornographic writing of the Marquis de Sade had an influence
both on the Symbolists and the Surrealists, with artists from both groups
regarding the artist as exempt from society’s moral conventions. Describing
the Bohemian atmosphere of Rossetti and his circle, art historian Elizabeth
Prettejohn recounts that ‘[English poet Algernon Charles] Swinburne
introduced even more flagrant French immorality to the circle; [George Price]
Boyce reported finding him and Rossetti poring over a copy of Justine, the
9 Elizabeth Prettejohn, ibid, notoriously licentious novel by the eighteenth-century French writer and
page 18 pornographer, the Marquis de Sade’9. For Jullian, the connection to de Sade is
evident not only in the masochistically inclined Swinburne’s poetry but also
his cohorts’ art: ‘Swinburne found in Sade a justification of his tendencies,
10 Philippe Jullian, ibid, page 108 and pictures of his heroines in the works of his painter friends... Rossetti
and Burne-Jones’10. English Symbolist painters caused scandal by pushing
the boundaries of what society would tolerate of its artists. ‘This painting
of a predatory woman with a keen sexual appetite,’ writes Stephen Bayley
11 Stephen Bayley, V&A online about The Day Dream, Rossetti’s portrait of William Morris’s wife Jane, ‘is as
collection http://www.vam.ac.uk/ erotically intense as it was possible to be in 1880’11. In 1893 Aubrey Beardsley’s
images/image/10019-popup.html
illustrations for Oscar Wilde’s Salomé were an affront to moral decency and the
focus of public outcry against the Decadent movement: ‘The Times declared that
12 Stephen Calloway, Aubrey Beardsley’s pictures were “unintelligible for the most part and, so far as they are
Beardsley, V&A Publications, unintelligible, repulsive”’12. Not all his daringly licentious illustrations made
1998, page 83
it past the publisher’s censorious eye but Beardsley managed to smuggle in
endless phallic symbols, an erect, outrageously proportioned phallus, images of
masturbation and repeated depictions of erotic display. The illustrated book, in
the hands of Decadents like Wilde and Beardsley, possessed the power to shock.
When it came to books, the work of the Surrealists came almost
exclusively from personal experiences, whether dreams or love affairs. ‘Poetry
13 André Breton, Sur la Route de San is made in bed like love,’ wrote André Breton13, hinting at the spirit of creative
Romano, in Poems, 1949. Quoted from collaboration that was important to Surrealists, notably writers and artists,
Love of Books, Love Books, by Vincent
Gille, the catalogue for Surrealism:
including pairings between André Masson and Hans Bellmer, both of whom
Desire Unbound, ed Jennifer Mundy, made illustrations for Georges Bataille’s explicitly erotic novella Story of the Eye.
Princeton University Press, 2001 Published in 1928, this Surrealist masterpiece dwells obsessively on recurring
symbols like eyes, eggs, the moon and genitalia. In Susan Sontag’s essay ‘The
Dante Gabriel Rossetti
The Day Dream, oil on canvas, 1880
15
Hokusai,
Awabi Fisher and Octopus (Dream of the Fisherman’s Wife), colour woodblock print, 1814
Pornographic Imagination’ she dissects the peculiarities of pornography
within ‘authentic’ literature and art as opposed to social and psychological
definitions of pornography. She validates pornography in art as the outcome
of its creators’ genuine investigations into the extremes of the human mind:
‘What makes a work of pornography part of the history of art rather than of
trash is not distance, the superimposition of a consciousness more comfortable
to that of ordinary reality upon the “deranged consciousness” of the erotically
obsessed. Rather it is the originality, thoroughness, and power of that deranged
consciousness itself, as incarnated in a work’14. This could perhaps apply
equally to the work of Beardsley, Bataille and Purple Book artist
Vania Zouravliov.
The medium of illustration is an eloquent tool for accessing the
subconscious, allowing artists to visualize the impossible (or the illegal).
Proportions and scale can be exaggerated, unlikely pairings are achieved,
Hans Bellmer, anachronistic elements coexist. The visual alchemy of Surrealist artists meant
Untitled, pencil and gouache on paper, 1961 that any scandalous thought, association or hidden desire could be depicted. As
Edward Lucie-Smith observes in Sexuality in Western Art, ‘the Surrealist artist
sought to remake reality so that it became the perfect expression of his own
fantasies’15. Thus we have works like Salvador Dalí’sYoung Virgin Autosodomized
by Her Own Chastity. Max Ernst’s Robing of the Bride and Oscar Dominguez’s
Electrosexual Sewing Machine. For today’s illustrators, influenced by Surrealism
the juxtaposition of odd or anachronistic visual elements creates weird,
dream-like scenes (as seen in work by Tran Nguyen and Sam Wolfe Connelly)
or poetic, fantastical forms (in work by Deanne Cheuk and Amelie Hegardt).
14 Susan Sontag, The Pornographic It would be impossible to talk about the relationship between drawing
Imagination, published with Story of and eroticism without touching on Japanese art. Access to Japanese art, with
the Eye, Penguin Books, 2001, page 94
its permissive attitude to depiction of sex such as that of Hokusai (1760–1849)
15 Edward Lucie-Smith, Sexuality and Utamaro (1753–1806), gave Western artists license to explore themes taboo
in Western Art, page 157 in their own society, and had a significant influence on style. Walter Crane
recognizes the influence of Japan but does not altogether condone it: ‘There
is no doubt the opening of Japanese ports to Western commerce... has had an
enormous influence on European and American art... We see unmistakeable
traces of Japanese influences almost everywhere — from the Parisian
Impressionist painter to the Japanese fan in the corner of trade circulars... We
have caught the vices of Japanese art certainly, even if we have assimilated some
of the virtues’16. The influence of Japonisme is clearly apparent in Beardsley’s
16 Walter Crane, ibid, pages 132–33 drawing style of the 1890s. It also seems to have encouraged his adventurous
attitude to the erotic: ‘At Beardsley’s house,’ wrote [art historian Julius] Meier-
Graefe, ‘one used to see the finest and most explicitly erotic Japanese prints in
London... the wildest fantasies of Utamaro.’17
17 Stephen Calloway, ibid, page 99 One artist today whose work elegantly prods attitudes to sexual
morality is Vania Zouravliov, who draws on myriad historical visual references to
create dramatic situations and an illicit sensual response in the viewer. For
The Purple Book Zouravliov has illustrated an extract from Edgar Allan Poe’s story
‘Eleonora’. Zouravliov’s work is often unnerving and weird, granting equal status
to both the beautiful and innocent and to corruption, decay and violence. ‘It’s
very melodramatic,’ he observes of Poe’s story. ‘It is overripe with mythological
imagery and allegories and its drama is derived from tragedy and heightened
emotions’. Like the overripe qualities of Poe’s story, Zouravliov’s work has an
excessive, decadent feel — he is a master of sensory overload.
What all the Purple Book artists share, whether their style is as densely
decadent as that of Zouravliov, Tim Hon Hung Lee and Laura Laine, or more
cool and spare like that of Makiko Sugawa, Deanne Cheuk and Jules Julien, is a
strong sense of the fantastical — both in the stories they tell and their styles
of representation. As illustrators, they create their images by accessing parts
of the imagination unfettered by reality, demanding that we the viewers do the
same. If only for a few minutes, we can lose our grip on worldly concerns and
slip into a universe of dreams.
17
I N T E RV I E W
Laura Laine
' like the decorativeness of the language, and that the style of the
I
narration keeps the story very vivid in its shifting between the beautiful
and the grotesque.'
most intense moments, when the goblins try to force-feed interesting than the male, and with drawing girls I get
Lizzie the fruits by pushing them against her mouth and to draw a lot of hair, which I like. Hair is great because
the juices cover her body. it is a part of the body that can be modified almost
How would you describe your illustration style in general? endlessly without losing the look of hair, the body itself
I like to study compositions and volumes in my work. I can only be distorted to a point and then the sense of the
like to combine opposing elements or elements that are real disappears.
just very different from one another. I like, for example, What part do romanticism and sensuality play in your work?
the combinations of fragility and mass, decorativeness and How I see romanticism in my work is mostly the attraction
clean lines, and movement and stiffness. I think it’s these towards drama.
mixtures that keep my work alive for me, because they What other cultural references feed your work? Since
provide material for endless research. I was a child until my late teens I was heavily into Japanese
I used to be only interested in doing greyscale work, manga and anime, it’s not something relevant anymore
but lately I’ve been more into colour. Still, the greyscale but some people have said that the influence can be seen
is closer to my heart, it’s also not really absence of colour in my illustrations. Later, another artist who had a big
either. I like the restriction of using only the tonal chart of impact on me was the Austrian painter Egon Schiele.
one colour as a challenge, but also that way I can emphasize Again, today his work is less significant as an influence
better textures, shadows, lines and silhouette. on my own work.
The female form is absolutely key to your work, what So mostly that’s something that keeps changing all the
attracts you to this subject? What I like about illustrating girl time depending what I see and come across. At the moment
characters is that I can identify with them on some level, I I like movies by Kevin Smith, books by Italo Calvino and
feel comfortable playing with femininity, emphasizing and poems by Kabir, and I’m really into A Song of Ice and Fire
questioning it. More than that, I’m interested in searching series, both novels and the TV-series based on them.
for something new in the feminine, maybe a search in What makes illustration the ideal medium for exploring
myself that I project on the paper, using the feminine form fantasy? Because with illustration everything is possible.
as a tool for this expression. The only restrictions are the medium and skills of the
I also think the feminine body is aesthetically more illustrator. There’s no need for any connection to reality.
Laura Laine 23
GOBLIN
MARKET
Christina Rossetti
Illustrated by
Laura Laine
M O R N I N G and evening
Maids heard the goblins cry:
‘Come buy our orchard fruits,
In the cooling weather,
With clasping arms and cautioning lips,
With tingling cheeks and finger tips.
Come buy, come buy: ‘Lie close,’ Laura said,
Apples and quinces, Pricking up her golden head:
Lemons and oranges, ‘We must not look at goblin men,
Plump unpeck’d cherries, We must not buy their fruits:
Melons and raspberries, Who knows upon what soil they fed
Bloom-down-cheek’d peaches, Their hungry thirsty roots?’
Swart-headed mulberries, ‘Come buy,’ call the goblins
Wild free-born cranberries, Hobbling down the glen.
Crab-apples, dewberries, ‘Oh,’ cried Lizzie, ‘Laura, Laura,
Pine-apples, blackberries, You should not peep at goblin men.’
Apricots, strawberries; – Lizzie cover’d up her eyes,
All ripe together Cover’d close lest they should look;
In summer weather, – Laura rear’d her glossy head,
Morns that pass by, And whisper’d like the restless brook:
Fair eves that fly; ‘Look, Lizzie, look, Lizzie,
Come buy, come buy: Down the glen tramp little men.
Our grapes fresh from the vine, One hauls a basket,
Pomegranates full and fine, One bears a plate,
Dates and sharp bullaces, One lugs a golden dish
Rare pears and greengages, Of many pounds weight.
Damsons and bilberries, How fair the vine must grow
Taste them and try: Whose grapes are so luscious;
Currants and gooseberries, How warm the wind must blow
Bright-fire-like barberries, Through those fruit bushes.’
Figs to fill your mouth, ‘No,’ said Lizzie, ‘No, no, no;
Citrons from the South, Their offers should not charm us,
Sweet to tongue and sound to eye; Their evil gifts would harm us.’
Come buy, come buy.’ She thrust a dimpled finger
In each ear, shut eyes and ran:
Evening by evening Curious Laura chose to linger
Among the brookside rushes, Wondering at each merchant man.
Laura bow’d her head to hear, One had a cat’s face,
Lizzie veil’d her blushes: One whisk’d a tail,
Crouching close together One tramp’d at a rat’s pace,
WILL DENY
H E WO U L D P R E F E R T O S E E H I S M I S T R E S S
Vania Zouravliov
'“Eleonora” is overripe with mythological imagery and allegories
and its drama is derived from tragedy and heightened emotions.'
hallucinatory. ‘Eleonora’ can be seen as an exercise in and seasons. All these things formed my way of drawing
excess or as Poe’s reflection on the events in his own life. and my inner world and are still as important and exciting
It’s certainly a very poetic piece and as such allows a wide to me now as they were when I was a child.
scope for interpretation. When I was ten years old I really wanted to start
It’s been said your work is ‘from the devil’ — could you using tone in my drawings. Prior to that everything I did
tell us the story behind that comment? When I was in my early was line-based. I spent the next one or two years studying
teens I was asked to do a radio interview. The other guest the drawings of [Francisco] Goya, [Albrecht] Dürer,
was a very famous painter who has his own academy in [Albrecht] Altdorfer and [Hans] Baldung Grien. The
Moscow and, needless to say, he had absolutely no idea change from line to tone was an incredibly frustrating and
who I was. After the interview he invited me to his house. difficult process, but whenever I noticed some progress it
I had a little portfolio of my drawings with me and at one was a most rewarding feeling.
point during the evening I was asked to show it to him and About eight years ago I started to feel that I wanted
his guests. They were looking at my work, nodding, and more softness in my work and I fell in love with [Odilon]
that is what they said. Redon. Looking at his still lifes took me where I wanted
The narrative and symbolism in your work suggest a link to to go. These are just some examples of how other artists’
book illustrators like Arthur Rackham and Edmund Dulac — to work helped me to develop my own work.
what extent does the tradition of book illustration influence you? What other figures from history inspire your work? French
There are a number of great artists whose work I find Romantic painters and Orientalists. Japanese masters of
important. Some of them had a very profound effect not woodblock printing Utamaro and Kuniyoshi. Artists of
only on my style of drawing but my values and interests the Italian Renaissance. Belgian Symbolist painters, in
in general. During my childhood I used to spend a lot of particular Fernand Khnopff. Early photographers such as
time looking through my parents’ art books and going to von Stillfried, Afong Lai and Felice Beato.
museums to draw from paintings. I had this huge ravenous And who are your cultural heroes working today? A lot
hunger for discovering anything that looked beautiful and of my inspiration comes from high fashion designers and
exciting. I loved studying costumes, animals, watching how they work with shapes and the body. In other areas
old hand-drawn Soviet animation, reading books on my heroes are [photographer and filmmaker] Eikoh Hosoe,
folklore, looking through old anatomy and pathology [artist] Thomas Köner and [artist] Feng Zhengjie.
books, learning from German Renaissance artists, going to How did you develop your strong sense of visual story-
churches and looking at frescoes or spending time in a vast telling? It’s obvious that any example of figurative art can
forest that was very near my home and enjoying its moods be seen as telling a story of some kind but it’s the image
'
I am certain that erotic energy and creative
energy are one and the same. Nothing of value
can be achieved without a strong desire. The
nature of all art is erotic. It’s our desire to live,
to conquer, to create something powerful, to strive
for beauty and to celebrate our strengths.'
itself that is always of utmost importance. There are two in your work? I am certain that erotic energy and creative
elements that are important to me in creating a work of energy are one and the same. Nothing of value can be
art. The first one is structure and shape. They need to achieved without a strong desire. The nature of all art
be harmonious and pleasing. For example, I am obsessed is erotic. It’s our desire to live, to conquer, to create
with how the human body is restructured by clothes or something powerful, to strive for beauty and to celebrate
finding beautiful combinations of shapes that come from our strengths. Without this desire everything instantly
nature combined with man-made ones.The second one is becomes meaningless.
mood. I find it endlessly fascinating how a scent or a sound What makes illustration as a medium so suitable for
can produce a very strong emotional response and trigger exploring these themes? I don’t think illustration is more
off all kinds of dormant memories. I think a work of art suitable than other media for exploring eroticism.
should have the same quality. There are of course some fantastic examples of erotic
Could you describe the process of working up a final image illustration. Hans Bellmer’s [illustrations for George
from initial ideas to final artwork? It always starts with seeing Bataille’s] Story of the Eye, Picasso’s [illustrations for
something that produces a strong and pleasant emotional Metamorphosis by] Ovid or the works of Franz von Bayros
response in me. I then put this object or image into my are among my favourites.
memory bank and keep mulling over it in the next one or Is there a difference in the way you approach the depiction
two months. At any one time I have maybe five of these of men and women in your work? Women are more difficult to
ideas in development while simultaneously working on draw but also more rewarding. Men and women inevitably
something else. represent different qualities and it’s one of the most
During this period I keep changing the image in my fascinating dynamics.
mind. Adding things to it or stripping it down to some Is it possible to consider drawing as an erotic act? I think
basic parts until I feel that I am satisfied with the result. so, but there is always plenty of sterile art.
I can then start the actual drawing. There is usually some How much do you draw from life and how much from
very loose sketching at the beginning but I try to keep imagination? I would say that it all comes from life and is
things fairly flexible almost till the very final stage. then filtered through my imagination. I always have this
The process that I am describing here of course only association between making art and cooking. Everyone
applies to my personal work as no client in the world will is given the same ingredients but the possibilities of
allow two months for mulling things over. Any commercial combining them are endless.
work usually takes days or weeks rather than months. Do you have a muse? Not at the moment but I like
Why are fetishism, sensuality and the erotic so prevalent the idea very much.
Vania Zouravliov 69
ELEONORA
Edgar Allan Poe
Illustrated by
Vania Zouravliov
Sub conservatione formae specificae salva anima.
Raymond Lully.
I
AM come of a race noted for vigour of fancy and calmly and distinctly these remembrances, was the sole
ardour of passion. Men have called me mad; daughter of the only sister of my mother long departed.
but the question is not yet settled, whether Eleonora was the name of my cousin. We had always
madness is or is not the loftiest intelligence – dwelled together, beneath a tropical sun, in the Valley
whether much that is glorious – whether all of the Many-Coloured Grass. No unguided footstep ever
that is profound – does not spring from disease came upon that vale; for it lay away up among a range of
of thought – from moods of mind exalted at the expense giant hills that hung beetling around about it, shutting
of the general intellect. They who dream by day are out the sunlight from its sweetest recesses. No path was
cognizant of many things which escape those who dream trodden in its vicinity; and, to reach our happy home,
only by night. In their gray visions they obtain glimpses there was need of putting back, with force, the foliage of
of eternity, and thrill, in awakening, to find that they have many thousands of forest trees, and of crushing to death
been upon the verge of the great secret. In snatches, they the glories of many millions of fragrant flowers. Thus it
learn something of the wisdom which is of good, and more was that we lived all alone, knowing nothing of the world
of the mere knowledge which is of evil. They penetrate, without the valley – I, and my cousin, and her mother.
however, rudderless or compassless into the vast ocean of From the dim regions beyond the mountains at the
the ‘light ineffable,’ and again, like the adventures of the upper end of our encircled domain, there crept out a narrow
Nubian geographer, ‘agressi sunt mare tenebrarum, quid in eo and deep river, brighter than all save the eyes of Eleonora;
esset exploraturi’. and, winding stealthily about in mazy courses, it passed
We will say, then, that I am mad. I grant, at least, that away, at length, through a shadowy gorge, among hills
there are two distinct conditions of my mental existence still dimmer than those whence it had issued. We called
– the condition of a lucid reason, not to be disputed, it the ‘River of Silence’; for there seemed to be a hushing
and belonging to the memory of events forming the first influence in its flow. No murmur arose from its bed, and
epoch of my life – and a condition of shadow and doubt, so gently it wandered along, that the pearly pebbles upon
appertaining to the present, and to the recollection of what which we loved to gaze, far down within its bosom, stirred
constitutes the second great era of my being. Therefore, not at all, but lay in a motionless content, each in its own
what I shall tell of the earlier period, believe; and to what old station, shining on gloriously forever.
I may relate of the later time, give only such credit as may The margin of the river, and of the many dazzling
seem due, or doubt it altogether, or, if doubt it ye cannot, rivulets that glided through devious ways into its channel,
then play unto its riddle the Oedipus. as well as the spaces that extended from the margins away
She whom I loved in youth, and of whom I now pen down into the depths of the streams until they reached
BECAUSE IT MUST.
Leopold von Sacher-Masoch
Izzie Klingels 91
Dan Hillier 93
No one could have less faith
I N T H E A B S O L U T E A N D D E F I N I T I V E I M P O RTA N C E
Dan Hillier 95
Sam Wolfe Connelly 97
I N T E RV I E W
Jules Julien
'Eroticism is the poetry of sex — an ear or neck, hand or thigh, tells
us about the entire body. Desire is at once strong and 'fragile, like
a hallucination that is holding our minds.
How would you describe your illustration style? subject is too present in photography, our eyes stop at
Graphically my style is realist but underneath, it is reality. But illustration is limitless, it sits at the crossing
surrealist. I make associations between people and familiar point between thoughts and reality, like an independent
objects in order to create a universe in which symbol entity. What is exciting about breasts for example, is
marries line and where strangeness is hidden behind more the fantasy about breasts than breasts in particular.
the smooth and sensual appearance of my pictures: an For me, illustration is like that, it is more the idea, the
underground world where superheroes are called Eros suggestion of something rather than the object itself, like
and Thanatos. a fantasy.
What role do fetishism and the erotic play in your work? How would you define ‘the erotic’? Eroticism is the
I’m gay and my drawings were first published in the gay poetry of sex — an ear or neck, hand or thigh, tells us
press. It is my universe that I present in my illustrations. about the entire body. Desire is at once strong and fragile,
A soccer outfit, a Nike shoe or a tie makes us imagine who like a hallucination that is holding our minds.
has been wearing it — I believe that objects have a strong Your drawing work contains elements of surreal collage and
erotic power, especially clothes. They are a direct link to an air of the gothic — how do you interpret these influences for a
our fantasies, they give a sense of the body as a ghost, an contemporary audience? I have a dark side just like everyone.
evanescent presence and yet they are extremely visceral at Bataille himself wrote Story of the Eye to get rid of his own
the same time. fears. Our society is made up of the two poles of death and
What makes illustration as a medium suitable for exploring sex — sex to forget about death, which is waiting for us at
these themes? I think that it depends on the illustration the end of sex. We are living in an unsolved equation.
and its style but there is always an un-realness to My black drawings bring together a mix of elements
illustration, which by definition comes closer to fantasies to create a new meaning — hair and melting ice; a kitten
than photography, for example. Photography will always tell and a gun. Black makes them one, it solders them together.
more at the expense of imagination. Drawing may be the It is a disappearance for the benefit of an appearance. This
starting point of an inner journey; it recalls imagination. use of black is the rule of the game that I gave to myself
When I started out I hesitated between choosing when I started illustrating and it is what has defined my
photography or drawing as a medium. I find that the style. The outcome it creates is somewhat closer to collage
Jules Julien 103
'
I am interested by the body above all, its
flesh, its clothes, its hair, its pose, its weakness
and strength. It goes beyond male and female.'
than illustration — I draw each element in black (or with chose a few silhouettes that I printed.
colours), and combine it with others. Is there a difference in the way you approach male and female
I believe there is a minimalist point of view in this sensuality in your work? I think that there is no difference
approach — once drawn, the elements are somewhere in my approach. Above all, I am interested by the body,
on the border between photography and drawing. They its flesh, its clothes, its hair, its pose, its weakness and
keep their shape and their pattern but lose their reality. strength. It goes beyond male and female.
My creative intervention is almost only of the choice and Is it possible to consider drawing as an erotic act? If I
layout of the subjects and colours that are used. More that were drawing with a pencil or a brush, I’d say perhaps yes.
the hand, it is the eye working. However, I work on computers for the moment. So the act
Tell us about some of the elements and symbols in your Cadavres of drawing itself, physically speaking, has nothing erotic
Exquis series, and how you put the images together... Cadavres for me, my body does not participate a lot in it. It is more
Exquis is a series of drawings and a small movie that I in the conception phase, the imagination, that there is an
created for a solo show at Diesel Art Gallery Tokyo in erotic game for me.
2009. I wanted to make a work about fashion, which Do you have a muse? Not really. But perhaps a muse
obviously has a big arena in Japan but in a different way in pieces, just like the many recurring elements of my
to in Paris where I live. Fashion is very creative in Japan, work — skulls, hair, sneakers, chains… We live in a
especially with the people wearing it, mixing styles and society made up of pictures and today’s muses are often
trade marks, they become their own stylist. fragmented by the rhythm of our screens.
To realize this series, I drew in black many pieces of What other cultural references feed your work? I’m
clothes and patterns found in fashion magazines, across really fascinated by many things: in art: (Wim Delvoye),
many styles — a skull as necklace from Dior, a Vivienne graphic design (Tadanori Yokoo), dance (Sidi Larbi
Westwood hat, a Uniqlo shirt. Then I glued them together Cherkaoui), comic books (Taiyo Matsumoto), cinema,
to create new silhouettes, which evolved over the course music and literature — quite a few books have moved me,
of the movie. I wanted it to be alive and animated, and by authors like Samuel Beckett, Éric Chevillard, Eugène
yet without life because it is made up of clothes, like Ionesco and Haruki Murakami.
scarecrows or rag dolls in appearance. From this movie, I
EYE
Georges Bataille
Illustrated by
Jules Julien
Surrealist writer Georges Bataille’s explicit, erotic novel Story of the Eye
was first published under a pseudonym in 1928. The story follows the
adventures, fantasies and sexual experiments of the young male protagonist
and his lover Simone. The pair becomes fixated with a girl named Marcelle,
whom they recruit into their increasingly bizarre games. In the following
chapter they attempt a chaotic rescue of Marcelle, who has been confined
to the sanatorium...
CHAPTER IV
A Sunspot
O
ther girls and boys no longer the huge phantom raging in the night as though dementia
interested us. All we could think itself had hoisted its colours on this lugubrious château.
of was Marcelle, and already we We were motionless, Simone cowering in my arms and
childishly imagined her hanging I half-haggard, when all at once the wind seemed to tatter
herself, the secret burial, the funeral the clouds, and the moon, with a revealing clarity, poured
apparitions. Finally, one evening, sudden light on something so bizarre and so excruciating for
after getting the precise information, we took our bicycles us that an abrupt, violent sob choked up in Simone’s throat:
and pedalled off to the sanatorium where our friend was at the centre of the sheet flapping and banging in the wind,
confined. In less than half an hour, we had ridden the a broad wet stain glowed in the translucent moonlight. …
twenty kilometres separating us from a sort of castle within A few seconds later, new black clouds plunged
a walled park on an isolated cliff overlooking the sea. We everything into darkness, but I stayed on my feet,
had learned that Marcelle was in Room 8, but obviously we suffocating, feeling my hair in the wind, and weeping
would have to get inside the building to find her. Now all wretchedly, like Simone herself, who had collapsed in the
we could hope for was to climb in her window after sawing grass, and for the first time, her body was quaking with
through the bars, and we were at a loss how to identify huge, childlike sobs.
her window among thirty others, when our attention was It was our unfortunate friend, no doubt about it,
drawn to a strange apparition. We had scaled the wall and it was Marcelle who had opened that lightless window,
were now in the park, among trees buffeted by a violent Marcelle who had tied that stunning signal of distress to
wind, when we spied a second-storey window opening and the bars of her prison. She had obviously tossed off in bed
a shadow holding a sheet and fastening it to one of the bars. with such a disorder of her senses that she had entirely
The sheet promptly smacked in the gusts, and the window inundated herself, and it was then that we saw her hang the
was shut before we could recognize the shadow. sheet from the window to let it dry.
It is hard to imagine the harrowing racket of that vast As for myself, I was at a loss about what to do in
white sheet caught in the squall. It greatly outroared the such a park, with that bogus château de plaisance and its
fury of the sea or the wind in the trees. That was the first repulsively barred windows. I walked around the building,
time I saw Simone racked by anything but her own lewdness: leaving Simone upset and sprawling on the grass. I had
she huddled against me with a beating heart and gaped at no practical goal, I just wanted to take a breath of air by
Most powerful
VEHICLES OF
Lust
Marquis de Sade
NOTHING SUCCEEDS
LIKE
EXCESSOscar Wilde
Jasper Goodall 131
Jesse Auersalo 133
Yuko Shimizu 135
I N T E RV I E W
Andrzej Klimowski
‘In Grabinski’s writing we witness heightened states of emotion
and sensuality that perhaps only exist in dreams.’
and being looked at. This reciprocal staring, as well I write all over the book, in the margins. I always believe
as the mystery of disappearing seems important. The in the very initial response to something. Even though
female protagonist radiates a certain light about her in sometimes one goes off on a tangent, it’s the most revealing
scenes that are otherwise dark. The mesmeric force she process. When I work with students I try to encourage
exerts over her lover is the theme that unlocks the visual them to do that intuitive, immediate response to what
narrative for me. they’re reading because it often works. In your mind’s eye
What importance does literature have to your work? you see a face or a situation, a landscape or room.
Literature inspires me more than anything else. I would So illustrating is a process of accessing something instinctive?
include cinema and theatre as well, which are on the Yes, an instinctive, intuitive approach works best. And
whole based on literature. I was educated as a painter, I if I’m working on my own books, my own scenarios, then
studied fine art at Saint Martins, then I left for Poland I try to create a situation where I can work in a stream-
to study at the Warsaw Academy with a professor who of-consciousness way. Not analysing, just producing,
focused his attention on poster design. When I graduated producing, producing... I always think an illustrator or
from the academy my main clients were theatres and film graphic artist is a kind of transmitter of ideas. You receive
distributors, so the kind of graphic imagery I did was a lot, then you filter it, and then you render it.
always based on drama or literature. In my more recent When using a stream-of-consciousness approach, do your
past I’ve been writing my own books. ideas always emerge visually? Yes, with me everything
How does the written word directly influence your process is visual. Even though I might write down a scene
as an illustrator when you’re interpreting a text? I always read sometimes, very often I will make a picture of a scene and
the text. Quite often designers or illustrators working then work from that. I think visual situations inspire me
on a book cover, which is the most common kind of a lot. But I like it when things are in the shadows, so the
commission, they go according to a synopsis. But I can’t reader or spectator has to fill it in themselves.
do that, I’ve always had to read the book, first of all Are there symbols that repeat themselves in your work?
because I love books, I like reading, but also because the I wouldn’t read them myself as symbols but I do notice
few times that I made a mistake or went wrong was when that certain things reappear a lot and I don’t know why.
I didn’t read it... As you’re reading, there are moments Like staircases, there are always a lot of staircases in my
which reveal the essence of the thing — it can be a small stories. Maybe its because I live on the second floor and
anecdote, part of an episode or sometimes I manage to I climb stairs all the time. I suppose that they are also a
find a visual metaphor or a symbolic interpretation. Or linking space between scenes.
sometimes it can just be to do with atmosphere... The So there can be autobiographical references in your imagery?
trick is not to interfere with the imagination of the reader. A bit, yes. In some stories I’ve done, the camera plays an
Not to suggest too much because then you spoil the fun for important role simply because I used to use a camera a lot
the reader. (most of my early work is photomontage and collage).
Do you start with a written outline or a storyboard? If In one of my books [The Secret] the protagonist is
I’m adapting a novel or a short story into a graphic novel a pin-hole camera.
'
That threshold between two realities,
I’ve always been interested in that.'
At the moment I’m working with my wife [Danusia a certain writer. It was wonderful working with Pentagram
Schejbal] on a semi-autobiographical graphic novel about in the 1980s and 1990s. I did all the covers for the Milan
us when we were young students in Warsaw. We stayed in Kundera, Mario Vargas Llosa, Kazuo Ishiguro and Harold
Warsaw for a long time... it was the Communist period, Pinter — I did about 20 covers for him. We became
a different reality. Communist systems are very surreal, friends. His approach attracted me because his drama was
they were very unnatural. They had their ideals but it was very pared down, no excess baggage, very minimal.
corrupt and it was crazy. Distribution of goods was crazy Do you find that you try to convey some of the writer’s style
— you couldn’t buy anything, you had to improvise. So the visually? Yes I do. Sometimes I take on a job that doesn’t
book is going to be quite funny. There is a whole generation really suit me, just because I don’t want to fall into a trap
now who missed that period, so it’s become like fiction. of just being a surreal, dark, dramatic type of person. I
The Polish tradition for film and theatre posters is strong took on a commission with Everyman when they were
compared with the UK. It’s had its day now, but it certainly going to publish all of PG Woodhouse’s novels. It’s typical
was very strong and linked with all the other arts. That’s English humour, playful language, ridiculous situations,
what I liked about working in Poland. The whole cultural farce — this was not the stuff I usually did. But I thought
ambience... I felt at home. For instance, I used to design I’d love to do it and I’ve done now over 70 covers.
book covers for a specific publisher in the centre of Do you think there’s a natural inclination to the darker side
Warsaw, they had their own canteen in the basement and of things in your work? I suppose that is what happens but I
you could meet all the writers, film directors, artists, don’t set out to do dark things. But I like the colour black,
poets, theatre directors, one big family. The borders for instance. And I do a lot of printing, working with lino
were very porous between the disciplines. So if you were cut, because it’s so simple and yet tricky because you have
friends with a theatre director he’d ask you to do the to reduce everything to black and white —no inbetweens
poster for his stuff. I suppose it exists to a certain extent (although you can generate certain half-tone effects)... In
in London but London is so huge and diverse, and quite the darkness things are hidden and you can read things
often design groups do everything — I sometimes had this in the shadows.
feeling that the design of a theatre programme would be When I’m doing black-and-white lino cuts, in quite
treated in exactly the same way as the design for a bank a lot of the scenes you don’t know if they’re happening at
brochure. Drama, theatre, spectacle needs a different night or in the middle of the day — the sky can be black
approach altogether. but you see a cloud in it. The light falls on characters,
That sense of drama and theatre is very clear in your work... objects, buildings in a way that suggests sunlight. So
Definitely. I still do posters for the theatre in Poland but there’s a kind of ambiguity... an unsettling twilight world,
it is the book — literature — that I began to concentrate a contradiction. That, I have always liked. Since I was
on here. I worked a lot via Pentagram with Faber & Faber. young I have been under the spell of dusk or dawn, when
John McConnell at Pentagram looked after the whole look colours fade. It generates a certain melancholy mood.
of Fabers and he commissioned illustrators to do book That sense of uncertainty and doubt seems to fit perfectly
covers. Very often an illustrator became identified with with the Grabinski story. Yes, there was a natural attraction
Andrzej Klimowski
143
'
Since I was young I have been under
the spell of dusk or dawn, when colours fade.
It generates a certain melancholy mood.’
there for me. He is a strange writer. There are a few other not to destroy the enjoyment of the reader. If a reader has
writers who can do that, where reality slips, even from built up a very specific world then just to turn a page and
one epoch to another. There’s an Argentinian writer Julio suddenly see this character that has nothing to do with
Cortázar whom I like very much. His narrative slips like their imagination, it interferes and can be disappointing.
dreams slide from one reality to another... That threshold So you don’t want to be too explicit, you lurk in the
between two realities, I’ve always been interested in that. shadows, the detail is unspecific... It’s a bit like the
Do you think there’s something about drawing in particular theatre — suggestive rather than real.
that unlocks the ability to access fantasy, slip between worlds? What is the appeal of illustrated books? It’s a good
Yes, I think it can do that. With drawing you rely on moment in time to look at and commission illustrated
the imagination. If you’re working with found material books given the fact that we have ebooks and Kindles, so
or you have specially set up photographs for an image printed books have become beautiful objects and there’s
[photomontage or collage works] it’s really very physical, an emphasis on that. People will always want to collect
whereas a drawing is complete invention. Of course one books. And the thing about illustrated books — even if
can draw from reality and I keep a notebook always — you don’t sympathise with the treatment because your
if I am interested in a chair I’ll draw it, or a character imagination or interpretation is very different — you
who is not aware I am observing him — because it’s will still treasure a book with pictures in it because it’s
interesting to observe the way people sit or behave. something to return to. People can rarely afford to buy
But really drawing is complete invention, the closest to paintings, but a book is accessible.
your imagination, it’s all coming completely from the What does it take for an illustrator to be a great
mind. Like writing. Then, of course, the medium has a storyteller? Any practitioner takes it for granted they
resistance — it doesn’t come out as you want it to come can tell a story, but it’s difficult. You can lose people. To
out, it misbehaves. Or one just can’t do it in terms of develop that ability, that objective distance between the
one’s craft or draughtsmanship and ability — one is work and yourself is very difficult. We’re so subjectively
limited. So you have to compensate for that and the effort involved in the work that we know exactly what it’s about
of compensation and improvisation, I like that too. Like but you have to think of the audience. They haven’t had
a musician might play a wrong note and then go off into a the same experiences or seen the same things so you have
new direction; like writing, you use a wrong word but it to leave signposts. You have to leave enough clues but not
might take you in an unexpected direction — that’s the too many. I’m not a great admirer of Spielberg because,
joy of creative work in general. although he’s a real professional and he knows how to tell
When you’re illustrating text, do you see the illustrations a story, it is always spelt out, it’s sentimental, it leads the
as additions to the written word or can they be autonomous? audience in a very specific way. For me, being part of
I think they can be automonous because afterwards they the audience, it’s best when I have to work hard at making
could hang on the wall as a series, or portfolio of prints. connections... Working hard as a viewer gives you a
Perhaps looking at them on their own you can figure out great deal of satisfaction. You become a participant
a narrative that is different from the text. But the trick is in the work.
S Z A M O TA’ S
MISTRESS
[ P A G E S F R O M A D I S C O V E R E D D I A RY ]
Stefan Grabinski
Illustrated by
Andrzej Klimowski
And the rib, which the Lord God had taken from man, made he a woman,
and brought her unto the man. And Adam said, This is now bone of my
bones, and flesh of my flesh: she shall be called Woman, because she was
taken out of Man. Therefore shall a man leave his father and his mother,
and shall cleave unto his wife: and they shall be one flesh.
Genesis 2:22-24
I
have been intoxicated with joy for six days now far-removed, delicate ray. Yet she must have sensed this.
and can hardly believe my good fortune. Six days With a sensitive woman’s instinct, she sensed my love and
ago I entered a new phase of life, one so markedly my meek, boundless adoration. It seems that the invisible
different than what preceded, that it seems I am bonds of attraction that existed between us all these years
living through a great cataclysm. grew more powerful during our distant separation, and now
I received a letter from her. they draw her to me.
Since her departure abroad a year ago to an unknown My best wishes, my most beautiful one! At this
destination – this first wonderful sign from her… I cannot, I evening hour, the day bows before me in bright, cheerful
truly cannot believe it! I will faint from joy! flashes, and with a raised head I hum a song in praise of your
A letter from her to me! To me, someone completely magnificence – my most wonderful Lady!
unknown to her, a humble, distant admirer with whom It is already Thursday. The day after tomorrow, at this
no friendly relations had existed before, not even a fleet- time, I will see her. Not until then. Such is her expressed
ing acquaintanceship. But the letter is genuine. I carry wish. I take her letter in my hand, that priceless lilac sheet
it continually with me, I do not part with it even for one from which escapes a subtle fragrance of heliotrope, and I
second. The name on the address is clear, without a doubt: read for the hundredth time:
Jerzy Szamota. It is I, after all. Not believing my own eyes,
I showed the envelope to several acquaintances; everyone Dear! Call at the house on 8 Green Street on
looked at me with some amazement, then smiled and con- Saturday, the 26th, at six in the evening. You will
firmed that the address is legible and bears my name. find the garden gate open. I will be waiting for
So she is returning home, returning in just a couple of you. Let the yearning of many years be fulfilled.
days, and the first person who will greet her at her door will Yours, Jadwiga Kalergis
be I – I, whose adoring eyes barely dared to look up at her
during chance sightings on the street, on some park lane, in The house on Green Street! Her villa, The Lindens! A
the theatre, at a concert… splendid, medieval-styled little mansion in the midst of a
If I could have to my credit at least one glance, or a grand park, separated from the street by woods and a thick
brief smile from her proud lips - but no! She seemed to have wire fence; the aim of nearly all my daily walks. How many
been completely unaware of me. Until this letter, I had times during the evening had I sneaked up to this quiet
been certain she did not even know of my existence. Surely spot, searching with a racing heart for her shadow on the
she hadn’t noticed me all those years while I trailed after windowpanes!
her like a distant, timid shadow? I was so discreet, such a Impatient with waiting for the anticipated Saturday,
Martine Johanna
'It stirs irrational emotions like intense longing and obsession,
which are extremely good for the creative process — it makes your work
infused with under-the-belly butterflies.'
viewer has a different point-of-view. What I’ve done is personality, with the other world being my mind.
work through and enlarge a fraction of an emotion or Is it possible to consider drawing as an erotic act? I do
emotional dispute within the soul of a woman that deals ‘get off ’ on a really well-made and gripping piece. But the
with temptation. Dark and light, pain and happiness are process is too hypnotic and introverted to be exactly erotic.
part of us, and makes us human and being at peace with I go on for hours until my hand cramps up. When I paint,
those contradictions makes you a stronger person. In one however, I’m much more ‘turned on’ and active. It makes the
drawing you can see the duality — passion versus virtue, blood pump, I feel more of a rush and sexy when painting.
chastity versus nature, longing versus loneliness. The How much do you draw from life and how much
skull stands for the reason that she is unloved — the death from imagination? Almost all my drawing is from my
of a child — but also for the lack of physical love she is imagination, although sometimes I do need anatomical
given, and not being able to fulfill her bloomed femininity. references. I either use myself or a friend as a model, or
Sensuality, fantasy and the erotic seem to play an important browse through photographs until I find a nice angle of
role in your work — why do these themes appeal to you? a hand or foot. You can’t do without references. When I
Sexuality is, first and foremost, the most natural thing in started out I used none, but at a certain points it showed.
the world. It’s raw, passionate, pure and, when straight It’s just like any other craft — research and practice makes
from the heart, a wondrous experience. My mind is over- for better work.
imaginative, even as a child I played out all kinds of stories The female form is central to your work, what attracts you
and intrigues in my head. I’ve also experienced the darker to this subject? As far back as I can remember I’ve always
side of lust when I was young — I think that side is also been very conscious of my femininity. Even as a child, I
still in my work. It’s that duality that brings a certain kind was the girl that stole my mother’s high-heeled shoes and
of tension in art. The dark and light as I mentioned before, make-up. At the same time I had some tomboy in me too,
are part of one story, like all things in life. climbing trees and playing Star Trek or dinosaurs with
You work in a range of media, could you say what is my brother. On the other hand, I had a huge curiosity
particular about drawing in relation to exploring fantasy and towards the physical — my niece and I let our Barbie dolls
sensuality? It’s like a story unfolding on paper, slowly have ‘sex’ with a male action figure. I drew pubic hair and
but surely. I can get truly obsessed with a drawing until nipples on my Barbie with a pen. In short, I am a woman,
the very last pencil stroke. The best thing is creating full-on. Women are a fantasy, seductive, sensual, mystic,
something entirely new, something that did not exist curved, erratic and erotic. I love men, but I don’t get how
before, only in my mind. I feel truly connected with their brains work, which makes them very appealing and
my ‘girls’, they are part of me — seductress, innocent, appalling at the same time. I only draw a few men, and
passionate lover, sorceress — all parts of one otherworldly only when I’m really intrigued.
Martine Johanna 179
'
The biggest influences on my work, however,
are probably sex, love, nature and music.'
What other symbols and images do you return to in your illustrator. I still love fashion — I have a vintage collection
work and why? Sometimes shapes just fall into place, with special statement pieces. The biggest influences on
sometimes by coincidence, sometimes intentionally. my work however, are probably sex, love, nature and music
I have used a circle divided into four parts, in some (at least, music is a huge catalyst for making work). At
works to stand for life, the seasons and the eternal and the moment I listen to Peaking Lights, High Wolf, Zola
ongoing circle of life. It’s inspired by an embossing stamp Jesus, Austra, Kate Bush, PJ Harvey, Connan Mockasin,
I have, with the text ‘omnia in aeternum’, which means Jack Colwell & the Owls, Glasser, Bob Dylan, Tallest Man
‘everything forever’, so, not ending with an afterlife, on Earth, Blaudzun and Half Way Station. I watch a lot of
but on-going, as energy into energy. Snakes also appear movies while drawing, mostly horror movies with haunted
often, as a symbol of temptation, obsession and houses and other supernatural topics. I could go on for
the male opponent. hours about movies, I watch three to ten a week,
Is there is difference in the way you approach the depiction while working.
of men and women in your work? There rarely are men in my I’m reading several books between working, including
work. If there are, they mostly stay anonymous. If they’re The Modern Utopian by Richard Fairfield and The New Black
not anonymous they are often portraits of men I know by Darian Leader. The latter is about how we deal with
personally and find intriguing or remarkable. I’ll make death, loss and mourning in this day and age when there
some of them blush by writing this. How I depict them is is no time and understanding for the mourning process.
far less sexual than with my females. I choose to leave out We turn to alternative, quick placebos in the form of
men entirely in these illustrations, and leave it more open medication, which in its turn does not have the same
for the viewer to put themselves in the equation. healing effect as enduring the natural process. Creativity
What makes a good visual story-teller? Just lots of comes from suffering pain more than happiness.
imagination and unique skills. I love so many different Some of the contemporary artists I admire are Nigel
kinds of styles and types of art that I couldn’t single out Peake, Louis Reith, Guillaume Soulages, Vania Zouravliov,
any specific ones. I’m not a big fan of digital art, standard Jenny Morgan, Sam Weber, Leif Podhajsky and Ellen Rogers.
comic-style or manga-inspired art, because it doesn’t Do you have a muse? One of my muses of the moment
touch my heart as much as the hand-made does. is a friend of mine, her name is Iris. She’s beautiful,
What cultural references inspire your work, from the worlds open, creative, vulnerable, a bit self-destructive and has
of art, fashion, literature, film, music, etc? My first obsessions something almost childlike and boundless in her actions.
were music, high fashion, folk culture, ethnic clothing and It makes me want to save her from all evil in the world.
couture throughout the years. I studied art and fashion at She’s the subject of a few new paintings for an exhibition
the academy and was a fashion designer before I became an coming up.
James Joyce
Illustrated by
Martine Johanna
… I love flowers Id love to have the whole place swimming
in roses God of heaven theres nothing like nature the
wild mountains then the sea and the waves rushing then
the beautiful country with fields of oats and wheat and
all kinds of things and all the fine cattle going about that
would do your heart good to see rivers and lakes and flowers
all sorts of shapes and smells and colours springing up even
out of the ditches primroses and violets nature it is as for
them saying theres no God I wouldnt give a snap of my two
fingers for all their learning why dont they go and create
something I often asked him atheists or whatever they
call themselves go and wash the cobbles off themselves
first then they go howling for the priest and they dying
and why why because theyre afraid of hell on account of
their bad conscience ah yes I know them well who was the
first person in the universe before there was anybody that
made it all who ah that they dont know neither do I so
there you are they might as well try to stop the sun from
rising tomorrow the sun shines for you he said the day we
were lying among the rhododendrons on Howth head in
the grey tweed suit and his straw hat the day I got him to
propose to me yes first I gave him the bit of seedcake out
of my mouth and it was leapyear like now yes 16 years ago
my God after that long kiss I near lost my breath yes he
said I was a flower of the mountain yes so we are flowers all
a womans body yes that was the one true thing he said in
his life and the sun shines for you today yes that was why I
liked him because I saw he understood or felt what a woman
is and I knew I could always get round him and I gave him
all the pleasure I could leading him on till he asked me to
say yes and I wouldnt answer first only looked out over the
sea and the sky I was thinking of so many things he didnt
know of Mulvey and Mr Stanhope and Hester and father
Beauty
IN WHICH THERE IS NO
Melancholy
Charles Baudelaire
Soey Milk 193
Tran Nguyen 195
Conrad Roset 197
The unique and supreme voluptuousness of love
lies in the certainty of committing evil. And men and women
know from birth that in evil is found all sensual delight.
Charles Baudelaire
Ëlodie Nadreau 199
Fin de Siècle
that gives the bitter or sweet its Deanne Cheuk is a New York-based
potency. He’s fascinated by redefining art director, illustrator and artist
the mundane and finds continual from Perth, Western Australia. She
inspiration in the disposable things got her first job as a magazine art
he surrounds himself with. director at the age of 19 — the year
Commercially, he has collaborated she graduated in graphic design
with Colette, Sony Music, Microsoft, from Curtin University. Since then,
Converse, 3M, Nokia and Playboy Cheuk has art directed or designed
and has exhibited in museums and numerous publications, including The View Up Here 01, 2010
galleries in New York, London, Paris, Tokion magazine. Her art direction is Charcoal on paper
Shanghai, Berlin and Tokyo. heavily influenced by her illustrative 55.88 x 76.2 cm
work and she is renowned for her
illustrative typography. She has been
commissioned by top international
companies, including American
Express, Dell, Lane Crawford, Levi’s,
Microsoft, Nickelodeon, Nokia,
Nike, Converse, Olay, Sprint, Swatch,
Target, MTV, Gap, Real Simple, The
Guardian, T Magazine and The New
From the series Mind Fuck, 2008 York Times Magazine. She has worked The View Up Here 02, 2010
Digital media with David Carson, Doug Aitken and Charcoal on paper
21 x 29.7 cm Conan O’Brien. Cheuk’s artwork has 55.88 x 76.2 cm
Regular pictograph font was created
with the idea that nature has its own
language. The body of text becomes
an image of a garden with characters
that are able to tell different stories
according to their placement.
www.kyuhyungcho.com
Jasper Goodall
Jasper Goodall is an artist, illustrator
and educator. His career began
in the early 1990s when his work
helped shape and influence the huge
resurgence and re-evaluation of Landscape, 2008 Untitled (263), 2012
illustration, the effects of which Mixed media on scratch board Ink on paper
continue to the present day. Goodall’s 50 x 60 cm 24 x 30 cm
work primarily deals with desire and
sexuality, often employing symbolism
as a narrative device to lead the
viewer into evocative imagined
worlds of fantasy, mysticism and
magic. Although a much imitated,
pioneering exponent of new image-
making technology, his emphasis on
strong traditional drawing skills and
constantly evolving creative vision, Untitled 1, 2009 Untitled (259), 2012
have meant his output has remained Pastel and ink on paper Ink on paper
diverse, varied and darkly seductive. 40 x 50 cm 24 x 30 cm
Dan Hillier
Dan was born in 1973 in Oxford and
studied Illustration and Graphic
Arts at Anglia Ruskin University in
Cambridge. Since 2006 he has been
Untitled 3, 2009 selling his own work in self-promoted
Pastel and ink on paper shows and via his own website,
Unfinished Vampires, 2007 40 x 50 cm as well as through solo and group
Pencil and Photoshop shows in various galleries and spaces
such as Saatchi Gallery, MuTate
Pages 82, 84–85, 88–89, 128–29 Britain, Victor Wynd Fine Arts,
Glastonbury Festival, the Institute of
Amelie Hegardt Contemporary Arts, London, and
Les Musée des Arts Décoratifs,
Amelie Hegardt’s work is a balance Paris. Dan lives and works in Stoke
between explicit emotion and Newington, London.
style. She works with a variety of
clients such as Vogue Japan, Mac Untitled (Principle), 2012
Cosmetics, Sephora and Harrods. Her Collage on paper
primary interest is in how subjects 38 x 48 cm
confront, and are confronted by,
their surroundings, and her work
simultaneously invokes feelings of
intimacy and suspicion. Shapes,
which at first seem appealing, then
appear to dissolve or somehow eerily
fragment. They are analogous to the
physical nature of her work – shapes
bleed into the paper, plastic is crudely
attached onto sketches. Amelie is Untitled (Strings), 2012 Woodsman, 2011
originally from Sweden, and today Collage on paper Screen print
based in London and Stockholm. 38 x 48 cm 75 x 55 cm
211
her work is built up from a mixture
of materials – water-based paint,
graphite, ink on wood or canvas,
sometimes just a paper and pencil
is enough.
Wanderlust, 2009
Graphite on paper
20 x 40 cm
Pages 57, 86, 200 Pages 177–80, 183–88, 191 Jack Colwell (portrait), 2011
Graphite drawing and paper collage
Tim Hon HungLee Martine Johanna 30 x 30 cm
Vannie, 2009
Graphite on paper
20 x 30 cm
Forest, 2011
Graphite on paper
30 x 30 cm
213
and investigating new relationships
between text and image. From 1968 to
1972 Andrzej studied sculpture and
painting at St Martins School of Art
and from 1973 to 1980 he lived and
worked in Warsaw, where he studied
poster design and film animation
at the Warsaw Academy of Fine
Arts. He has designed many posters Dancers (Lubock 8, Leipzig), 2009 Wideshut, 2003
for cultural institutions in Poland Linocut Collage
and collaborated with leading book 29.5 x 21 cm 24.4 x 37.3 cm
publishers. On returning to the UK,
he worked freelance for Faber & Faber, Pages 60–61, 90–91, 116
Penguin Books and The Guardian and is
Professor of Illustration in the Visual
Communications Programme at the
Izzie Klingels
RCA. His many international prizes, Izzie studied Fine Art at Chelsea
include: The Hollywood Reporter Key School of Art in London. She has
Art Awards for best film posters (Los worked commercially as an illustrator
Angeles 1977 and 1978), DA&D Silver since 2001, for clients including Vogue,
Award for a Royal Mail Millennium Book of Laughter and Forgetting, 1983 Topshop, Volvo, Absolut, Random
stamp (London 1999), V&A Collage House and Italian Marie Claire. She
illustration Award for the graphic 30 x 25.7 cm has recently begun to focus equally on
novel Horace Dorlan (2nd prize 2008). non-commercial projects, exhibiting in
Los Angeles, London and Seattle. Her
work often explores representations
of gender, appropriating ‘feminine’
attributes such as sparkle, shimmer
and delicacy. She currently lives and
works in Seattle, where she finds
inspiration in the damp lushness of
the city and the dark mystery of the
Niche, 1981 old-growth forests and mountains
Angela (from Horace Dorlan), 2006 Collage that surround it.
Linocut 32 x 28 cm www.izzieklingels.com
29.8 x 20.1 cm
Untitled (Lubock 8, Leipzig), 2009 Spring Awakening, 2008 The Wind Tells the Tale of Valdemar Daee
Linocut Collage and His Daughters, 2005
29.5 x 21 cm 32 x 28 cm Ink, paper, 59.4 x 42 cm
Untitled (Lubock 8, Leipzig), 2009 The Secret, 2001 Suburban Bliss, 2008
Linocut Ink on paper Ink, paper
29.5 x 21 cm 24 x 32.8 cm 29.7 x 21 cm
Jolly Roger, 2010 Iben Høj, 2008
Pencil on paper Pencil on paper
42 x 29.7 cm 42 x 29.7 cm
Wunder 2, 2009
Pencil on paper
42 x 29.7 cm
215
illustrations. Ëlodie is fascinated
by fashion and is also inspired
by the nostalgic universe of
her childhood.
Agape, 2010
Inks, paper and digital media
90 x 60 cm
Pages 198–99
Ëlodie Nadreau
Working as a freelance illustrator
since 2010, Ëlodie has developed her
own realistic and poetic style.
Although she prefers using traditional
Apple Tree, 2012 techniques, she enjoys experimenting Drawing in a Sea of Uncertainties, 2010
Pen on paper with new ones regularly to try Acrylic and colour pencil
19 x 26.7 cm and inject more soul into her 30.5 x 30.5 cm
and London and was involved Untitled, 2005
with a project that showed Ink liner, pencil and pastels on paper
in Lisbon in 2012. 24 x 34 cm
Untitled, 2005
Freya, 2010 Ink liner, pencil and pastels on paper
Fine liners, ink washes 24 x 34 cm
59.4 x 42 cm
Pages 54–55, 196–97
Conrad Roset
When You Leave Behind a Fragmented Conrad Roset is a freelance
Memory, 2010, Acrylic and coloured illustrator from Barcelona, Spain.
pencil on paper 30.48 x 40.64 cm He currently works on a range of
projects for advertisement agencies,
design studios, magazines, fashion
Great Gods Cannot Ride Little Horses, 2011 brands and editorials. Some of
Fineliners, digital media Conrad’s most important clients
82 x 75 cm include: Adidas, Coca-Cola, Custo,
FC Barcelona, Mango, Bwin, Skoda
Pages 158–59 and Zara. He also works as a professor
at BAU School of Design in Barcelona.
217
Blanco, 2010 She has recently moved to Tokyo.
Acrylic on paper The main theme of her work is
50 x 50 cm woman’s reality and it expresses the
sexuality of a woman seen from the
perspective of that woman. Her work
appears in advertising, magazines and
book illustration. Collections of her
work were published in 2006
P Trees, 2002 and 2008, and a new book in 2012.
Ink and digital media She also had a solo show in Rome
Personal work and Tokyo that year.
Yuko Shimizu
Yuko Shimizu is an illustrator and Flogfolio, 2007 Paper Doll, 2007
instructor at the School of Visual Ink and digital media Pen drawing
Arts, New York. Yuko chose art as client: Dellas Graphics 21 x 29.7 cm
her second career. After receiving a
diploma from the School of Commerce
at Waseda University, Tokyo and
working in a corporate PR job in
Japan for 11 years, she had an early
mid-life crisis and moved to New
York to enrol at the School of Visual
Arts. Drawing had been her passion
since childhood. She received a MFA
in Illustration in 2003 and has been Chasers, 2008 Magic, 2009
illustrating ever since. Clients include: Ink and digital media Pen drawing
TIME, The New York Times, Microsoft, client: PLANSPONSOR 21 x 29.7 cm
Gap, Pepsi, VISA and MTV; awards
include: Yellow Pencil from D&AD, Pages 122–23, 169
gold and silver medals from Society
of Illustrators, silver medal from
Association of Illustrators, Art
Makiko Sugawa
Directors Club and American Makiko Sugawa grew up in
Illustration. In 2009 Yuko was chosen Wakayama, Japan and graduated
as one of Newsweek Japan’s ‘100 from Kyoto University of Art and
Japanese People the World Respects’. Design. She worked for a design office
Her first monograph was published for ten years in Osaka.The inspiration Catwomen and Girl, 2009
in 2011 by Gestalten. PS: this Yuko for a lot of her work came to her Mixed media
Shimizu did NOT design Hello Kitty. while working in this design office. 21 x 29.7 cm
Pages 118, 202–203, 206–207
Yukari Terakado
Yukari Terakado is a graphic
designer and illustrator based in
Tokyo, Japan. Her world of drawn
lines transmits a sense of transparency.
Education, 2008 Lace Queen, 2006 Most of her models are adolescent
Pen drawing Pen drawing girls because she is drawn to the
21 x 29.7 cm 25.7 x 36.4 cm sensibility and the dangerousness
of teenager girls. She creates
artworks for CD covers and
magazines, basing them on fashion
graphics. She is very fond of music,
and often takes inspiration from lyrics
too. Her clients include: Sony Japan,
T-shirts Store (Sweden), Ribbed
Magazine and Computer
Arts Projects (UK), Vogue
Secret Talk, 2011 Party, 2005 Girl (Korea).
Pen drawing Pen drawing
29.7 x 42 cm 25 x 29.7 cm
219
Lady Bird 2, 2012
Pastel and pencil on paper
56 x 76 cm
Kelly Thompson may be from New no matter the reaction. I would like
Zealand but for the last few years them to make people forget their daily
numerous international magazines lives’. These characters have become
and blogs have claimed her as their icons in their own right. In her move
own. Her distinctive, seductive from acrylics to drawings on paper
illustrations and penchant for she tries to ‘keep the movement,
beautiful girls have caught the eye the lightness of the lines, the
of the art and fashion community spontaneity’. Miss Van has had solo
and launched her career. shows in Barcelona, London, Paris, Wild at Heart 18
Internationally, she is one of Mexico City, Shanghai and across the Charcoal and pastel on paper
New Zealand’s most popular and US. She now lives and works in Spain. 75 x 56 cm
recognised illustrators. Kelly is now
based in Melbourne; after working
for over a year as a producer and
account manager at The Jacky Winter
Group she is now freelance and
focused on her personal work and
client commissions. Her personal
work is often inspired by models she
has photographed, her subjects are
confident, seductive and intriguing Lady Bird 1, 2011 Muses 8, 2011,
without giving too much away. Pastel and pencil on paper Pencil on paper
Sometimes people are offended by 76 x 56 cm 112 x 75 cm
the subject matter, suggesting that
it is a bit risqué, but that makes it
more intriguing for Kelly. The whole
idea of beauty and sexuality is so
scrutinised; sometimes something is
simply beautiful, and beauty doesn’t
last forever so why don’t we just
let it have its moment?
Wild at Heart 1, 2012
Pencil and pastel on paper
70 x 50 cm
Bailarina 10
Pencil and paper
70 x 50 cm
221
PICTURE CREDITS
Page 10
Max Ernst - © ADAGP, Paris and
DACS, London 2012.
Page 11
Private Collection / The Stapleton
Collection / BAL
Bearskin 3 Perrault 2
Ink and gouache on paper Ink and gouache on paper Page 12
Personal work Personal work Private Collection / Photo © Peter
Nahum at The Leicester Galleries,
London / BAL
Page 13
Private Collection / The Stapleton
Collection / BAL
Page 14
Private Collection / BAL
Columbina Soft Park
Ink and gouache on paper Ink and gouache on paper Page 15
Personal work Personal work Victoria & Albert Museum, London,
UK / BAL
Page 16
British Library, London, UK /
© British Library Board. All Rights
Reserved / BAL
Page 17
The Israel Museum, Jerusalem, Israel /
Kitsune Kingdom Vera & Arturo Schwarz Collection of
Ink and gouache on paper Pencil and gouache on paper Dada and Surrealist Art / BAL.
Personal work Personal work © ADAGP, Paris and DACS,
London 2012.
Published in 2013 by
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