Rainbow Gold 2

Rainbow Gold 3

Rainbow Gold 4

Why Feel the Need?

Alphonse Mucha—Jaraslova—c 1930

Why does an artist feel the need to create a drawing or painting based on a photograph, when that photo is perfectly serviceable as a likeness of a person? Because he or she can. The nuances of differences that an artist infuses in the work interprets the subject with more 'reality' than most photographs.

The portrait painting, in oil, by Mucha of his daughter Jaraslova is very satisfying to look at, even without knowing anything about the subject. Mucha has made a personal interpretation of someone he cares deeply for, and we are privileged to see through his eyes and heart.

The photograph, below the painting, is also satisfying to look at and could stand on its own as an artistic document, but the painting communicates on a transcendent level and is what we consider 'art'.

Mucha painted many young women as subjects in similar poses over the years, yet many of them would not be considered 'portraits'. Many of those were idealized portrayals, but this painting we know immediately to be a real person. When is a portrait a portrait, and not just an image of a person?

My First Love

Portraits are my first love of what I endeavor to create. I get great inspiration from the great portraits of the ages, and I was almost tempted to start a new 'blog showcasing them. I got ahold of my senses, before I committed myself to yet another expenditure of time, and decided to post them here periodically, with a new category label, so they'll eventually gather together.

Many of what I'm calling 'portraits' may not have been intended as such. They are studied portrayals of people, for whatever reason—not necessarily to say, 'here is a likeness'. They are to show persons as a subject of interest, a study of whatever qualities that we recognize as meaningful. That's the kind of portrait I'm talking about. More thoughts about that later.

My favorite period of portraits, at this point, is the first half of the twentieth century, but there are favorites from all eras.

Blue Mandarin Coat—Frederick A. Bosley—1927

My Favorite Bag

Good gosh, I know I'm crazy for images when I find that I even save a bag for nearly 20 years, just for the image.

I had reason to be in Portland in the early 90s. Alright, the reason was that I was there to meet my wife's plane as she flew in from Japan. She was terribly tired from her time in Japan, and we chose to hang out in Portland and area for a few days. We LOVED the place.

But while my wife caught up on her rest, I had fun looking around, and I came across this comic shop. It was very cool and I bought some neat-o signed prints and some comix and stuff that I hadn't seen elsewhere. And this bag was free.

Yay, Future Dreams. They're still around, but I think they relocated from these addresses.

A Young Goonglebird

Bad news, good news time.

Bad news is that this is the last regular Pogo Sunday strip to be posted on this 'blog.

Good news is that that you'll be getting lots more Pogo Sunday strips over on a new 'blog dedicated to Uncle Walt and his work, starting in 2 weeks.

The Pogo Sundays on this 'blog have been running with the conceit of "Sunday, Kelly Sunday", displaying strips of 45 years ago today, since this year shares the same dates as 1964. Well, hey, who's going to miss that when you can see Kelly alla time? Stay tooned for more info.

In the meantime, ONE-LAST-TIME, it's Sunday, Kelly Sunday—from 45 years ago today:

The Capture

Another Herbert Draper painting, this entitled "The Capture". Well alright then.

Eerie and Creepy

Some Eerie and Creepy images by Berni Wrightson (and a bit of Jeffrey Jones).

Black Angels Have No Wings

Since I've put up a Lawrence Stevens' pulp illustration, I feel like I need to put up one of Virgil Finlay's as well, from the same time period. This is one from Amazing Stories, August 1952. Not an absolute favorite, but serviceable for the occasion.

Visions and Vagaries

This time of year is haunted with visions and vagaries of unholy life and moldy death, and what better image than this phantasmagoria to portray that.

This pulp illustration by Lawrence Stern Stevens is for the Ray Bradbury story Homecoming, from Famous Fantastic Mysteries, December of 1952, and is one of my favorites. The sky-clad witch is a vision unto herself.

Stevens and Virgil Finlay published side by side in these kinds of pulps. Each was unique in style and yet blended together, issue after issue, for a homogenous portrayal of the incredible. Finlay's visions went out among the stars, but Stevens were usually earth-bound phantasies.

Autumn

Well, today it's snowing. But—YESterday it looked just like these two images . . . I'm telling ya . . . well at least in my little world it did.

I'm tellin' ya, my little world is a GOOD little world.

Bridging Styles

Just two more John Austen drawings for now. Both of them sort of bridging between his old and his later styles. The color image is luscious for its use of dark, yet bold, palette.

A Lady of the Court

From Perrault's Fairy Tales—BlueBeard

Filigree

The 'filigree' of ornament is fascinating to study in this depiction of Scheherezade by John Austen.

At His Best

John Austen was at his best with Hamlet in 1922.

Here is Act IV Scene 7.

Sort of astounding imagery for the time and the medium.

Another Austen

Another fabulous pen and ink graphic by John Austen for the 1922 Hamlet, featuring (you guessed it) Ophelia!

Grand Style

John Austen had a grand style when he illustrated a bee-youtiful edition of Hamlet, from 1922. His style was influenced by Beardsley and was akin to Harry Clarke. Later, his style and technique evolved into something less ornate and more caricaturized.

This pen drawing is from Hamlet, Act III Scene 2. And then I just had to zoom in on details.

Truly Thirsty

Vampires are more popular than ever this year, in all formats of pop culture. For me, none rivals the persona of Count Dracula, as characterized by Bela Lugosi. This is how he looked in the stage production of 1927, when he truly was handsome, suave, debonair and thirsty.

Bird Thou Never Wert, Bert

Yes, no, I did not forget. Here is the Pogo Sunday strip that posted, I mean printed, 45 years ago 2day. Cuz this is Sunday. Kelly Sunday. Dude.

Just a reminder that a brand new 'blog dedicated to Walt Kelly will be premiering soon at a monitor near you. When that happens, you will hear of it right here, on this stage, a really big shew (Ed Sullivan was really big 45 years ago 2day 2. Youngsters, go google him).

See how nice it is when not every panel background is yellow?

Air Combat 1

WWII air combat missions have not been portrayed more beautifully or crisply realistic as by Nicolas Trudgian. His work should be an inspiration for other genres of painting, as well.

Air Combat 2

Unhistory

George Barr. Frontispiece for Adventures in Unhistory by Avram Davidson. 1990.