Brain Pickings

Posts Tagged ‘illustration’

14 JULY, 2014

Mocha Dick: The Story of the Real-Life Whale That Inspired Moby-Dick, Illustrated

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“Some men sat stone-faced. Some shook.”

In May of 1839, Herman Melville found himself riveted by an article in the New York monthly magazine The Knickerbocker about a “renowned monster, who had come off victorious in a hundred fights with his pursuers” — a formidable albino whale named Mocha Dick, who had been terrorizing whaling ships with unprecedented ferocity for nearly half a century. Twelve years later, the beast was immortalized in Melville’s Moby-Dick, a commercial failure in the author’s lifetime that went on to be celebrated as one of the Great American Novels and is among the greatest books of all time.

Now, five years after self-taught artist Matt Kish illustrated every page of Moby-Dick, children’s book author Brian Heinz and artist Randall Enos tell the story of the original white whale behind Melville’s masterpiece in Mocha Dick: The Legend and the Fury (public library) — a captivating picture-book “biography” of the monster-turned-literary-legend, from how human aggression turned the “peaceful giant” into a ferocious beast to his first recorded attack near the South American island of Mocha off the coast of Chile to the final, fatal harpoon blow.

Suddenly, the whale burst through the waves, his jaws gnashing in the foam. One sweep of his flukes hurled the craft high into the air, spilling the crew into the sea. Twenty-six pairs of teeth as long as a man’s hand clamped down on the boat. The huge head shook savagely until only splinters remained. Then the whale disappeared in the twilight. The remaining boats plucked up their comrades and rowed briskly to their whaler. Some men sat stone-faced. Some shook.

Randall’s gorgeous linocut collage illustrations, to which the screen does no justice whatsoever, lend Heinz’s lyrical narrative dimension and magic that render the end result utterly enchanting.

Mocha Dick is an absolute treat from cover to cover. Complement it with Moby-Dick in Pictures and Debbie Millman’s handmade homage to the Melville classic.

Images courtesy of Randall Enos

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11 JULY, 2014

Beloved British Artist Ralph Steadman Illustrates the Life of Leonardo da Vinci

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A visual “autobiography” of the legendary polymath that grants equal dignity to the grit and the glory.

Freud once observed that the great Renaissance polymath Leonardo da Vinci was “like a man who awoke too early in the darkness, while the others were all still asleep.” And how blazingly awake he was — his Vitruvian Man endures as one of the most iconic images of all time, his visionary anatomical illustrations changed the course of modern medicine, and he knew how to play the long game of the creative life.

Perhaps this is why in the early 1980s, when he was in his mid-forties, the celebrated British cartoonist Ralph Steadman developed a great obsession with Leonardo. He began to paint the polymath’s fanciful inventions, as well as countless drawings of Leonardo himself, and eventually even travelled to Italy to stand where Leonardo stood, seeking to envision what it was like to inhabit that endlessly imaginative mind and boundless spirit.

In 1983, more than a decade before he illustrated Orwell’s Animal Farm and exactly ten years after his visual interpretation of Alice in Wonderland, Steadman released I, Leonardo (public library) — a remarkable “autobiography” of Da Vinci as imagined by Steadman, written in the first person and illustrated in the cartoonist’s unmistakable style. Funny, poignant, sometimes gory, sometimes optimistic, always intensely intelligent, Steadman’s story stretches from Leonardo’s boyhood experiments to his dying words, granting equal dignity to his triumphs as a genius and his doubts and disappointments as a human being, to the grit and the glory.

Steadman writes in the introduction:

In the Middle Ages the world was still flat, the center of the universe, ruled by villainous warlords, witchcraft and alchemy, superstition and disease. Few dared ask the question “What are the elephants standing on” for fear of being soundly whipped and told to shut up and keep rowing… Not a good time to be born poor, though no worse if you were born a bastard, rich or poor.

[…]

Leonardo da Vinci was born twenty years before Michelangelo in 1452. Knowledge through experience was his maxim and his experience showed him that man was not what he appeared to be, despite the prevailing atmosphere of fine thoughts and high aspirations. Yet the purity of his painting set the divine standard of Renaissance art — and of any art for that matter. I believe he preserved intact a part of his private self which found an outlet in his more personal notes and drawings… The wealth of his activities overpowered those who revered him, so that they were virtually unable to employ him. If that were not disability enough, his most beloved disciple kept from the world his inheritance, the notebooks which contained the essence of his master’s spirit. Like a guard dog he hoarded them all his life. After his death they were dismembered and dispersed, only to be rediscovered four hundred years later in a world where Leonardo’s ideas had already come about.

Much of Steadman’s narrative is woven from Leonardo’s own musings, collected in his Thoughts on Art and Life (which is available as a free download and highly recommended). Take, for instance, this passage accompanying Steadman’s terrific drawing of Leonardo’s optic studies:

The eyes … are the chief means whereby the understanding may most fully and abundantly appreciate the infinite works of nature.

The eye counsels all the arts of mankind … it is the prince of mathematics … it has given birth to architecture and to perspective and to the divine art of painting. Painting encompasses all the ten functions of the eye, that is, darkness, light, body, color, shape, location, remoteness, nearness, motion and rest.

Because of the eye the soul is content to stay in its bodily prison, for without it such imprisonment is torture. Who would believe that so small a space could confirm the image of all the universe?

All those coarse jests inside the court serve now to lash my pride. His Holiness the Pope surrounded himself with none but craven guzzlers, gross pretenders and a host of fawning dignitaries who grimaced through their days at court with no more grace than beggars I had entertained in days gone by — though they had neither choice nor wit to rise above themselves and in that they had a reason.

Oh that I had ways to surely serve their putrid masquerades and twittery to make a dragon from the very menagerie within the Vatican itself.

If I could take for its head that of a mastiff or setter, for its eyes those of a cat, for its ears those of a greyhound, with the eyebrows of a lion, the temples of an old cock and the neck of a water tortoise.

O vile monster! How much better it for men that thou shouldst go back to hell! For this the vast forests shall be stripped of their trees; for this an infinite number of creatures shall lose their lives.

Complement I, Leonardo, a masterpiece in its own right, with The Provensens’ spectacular vintage pop-up book on Leonardo’s life and legacy, then revisit Steadman’s sublime illustrations for Animal Farm and Alice in Wonderland.

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09 JULY, 2014

Bohemians: A Graphic History of Creative Mavericks

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Walt Whitman, Oscar Wilde, Josephine Baker, Henry Miller, Gertrude Stein, Thelonious Monk, and other creative mavericks of semi-subversive status.

Long before there were hipsters and squares, even before there were beatniks, there were Bohemians — named after Bohemia, a geographical area part of the modern Czech Republic, which mid-nineteenth-century French journalists mistakenly believed to be the source of Europe’s Roma population, the “gypsies” who symbolized carefree romanticism.

In Bohemians: A Graphic History (public library), editors Paul Buhle and David Berger assemble an all-star roster of contemporary comic artists — many familiar from the excellent Graphic Canon series — to trace back the origin of the Bohemian movement to the artist studios of 1850s Paris and celebrate its greatest luminaries from the century that followed. This graphic nonfiction counterpart to the story of Mark Twain’s West Coast Bohemia explores the worlds of literature, art, modern dance, jazz, and more through such cultural icons as Walt Whitman, whose Leaves of Grass is celebrated as the greatest American poem, Henry Miller, “the Thoreau of Big Sur,” who bequeath us timeless wisdom on everything from creative discipline to growing old to the meaning of life, Oscar Wilde, whose opinions on art were as bold as were his romantic exploits, and Gertrude Stein, the Queen Bee of the literary expat community.

Buhle writes in the introduction:

Bohemians have occupied a semi-subversive status in modern society without being, in any consistent way, political-minded or even organized. The danger that they pose for the fretful of every generation since the 1850s is also the secret of their lasting appeal, in particular, to the disaffected and the young… They belong to no clear or certain social class, yet they continue to be the transgressive class.

Complement Bohemians: A Graphic History with more excellent graphic nonfiction on everything from Freud’s life and legacy to the inner workings of the brain to the unsung heroes of black history, as well as some excellent graphic biographies of Salvador Dalí, Andy Warhol, Charles Darwin, Richard Feynman, Hunter S. Thompson, and Steve Jobs.

Images courtesy of Verso Books

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