FoundÂed in 1577, Kobaien remains Japan’s oldÂest manÂuÂfacÂturÂer of sumi ink sticks. Made of soot and aniÂmal glue, the ink stick—when ground against an inkÂstone, with a litÂtle water added—produces a beauÂtiÂful black ink used by JapanÂese calÂligÂraÂphers. And, often, a 200-gram ink stick from Kobaien can cost over $1,000.
How can soot and aniÂmal glue comÂmand such a high price? As the BusiÂness InsidÂer video above shows, there’s a fine art to makÂing each ingredient—an art honed over the cenÂturies. WatchÂing the artiÂsans make the soot alone, you immeÂdiÂateÂly appreÂciÂate the comÂplexÂiÂty beneath the apparÂent simÂplicÂiÂty. When you’re done watchÂing how the ink gets made, you’ll undoubtÂedÂly want to watch the artiÂsans makÂing calÂligÂraÂphy brushÂes, an art form that has its own fasÂciÂnatÂing hisÂtoÂry. Enjoy!
“We can say of ShakeÂspeare,” wrote T.S. Eliot—in what may sound like the most backÂhandÂed of comÂpliÂments from one writer to another—“that nevÂer has a man turned so litÂtle knowlÂedge to such great account.” Eliot, it’s true, was not overÂawed by the ShakeÂspeareÂan canon; he proÂnouncedHamÂlet “most cerÂtainÂly an artisÂtic failÂure,” though he did love CoriÂolanus. WhatÂevÂer we make of his ambivaÂlent, conÂtrarÂiÂan opinÂions of the most famous author in the EngÂlish lanÂguage, we can credÂit Eliot for keen obserÂvaÂtion: Shakespeare’s uniÂverse, which can seem so sprawlÂingÂly vast, is actuÂalÂly surÂprisÂingÂly spare givÂen the kinds of things it mostÂly conÂtains.
This is due in large part to the visuÂal limÂiÂtaÂtions of the stage, but perÂhaps it also points toward an author who made great works of art from humÂble mateÂriÂals. Look, for examÂple, at a search cloud of the Bard’s plays.
You’ll find one the front page of the VicÂtoÂriÂan IllusÂtratÂed ShakeÂspeare Archive, creÂatÂed by Michael John GoodÂman, an indeÂpenÂdent researcher, writer, eduÂcaÂtor, curaÂtor and image-makÂer. The cloud on the left feaÂtures a galaxy comÂposed mainÂly of eleÂmenÂtal and archeÂtypÂal beings: “AniÂmals,” “CasÂtles and Palaces,” “Crowns,” “FloÂra and FauÂna,” “Swords,” “Spears,” “Trees,” “Water,” “Woods,” “Death.” One thinks of the ZodiÂac or Tarot.
This parÂticÂuÂlar search cloud, howÂevÂer, does not repÂreÂsent the most promiÂnent terms in the text, but rather the most promiÂnent images in four colÂlecÂtions of illusÂtratÂed ShakeÂspeare plays from the VicÂtoÂriÂan periÂod. Goodman’s site hosts over 3000 of these illusÂtraÂtions, takÂen from four major UK ediÂtions of ShakeÂspeare’s ComÂplete Works pubÂlished in the mid-19th cenÂtuÂry. The first, pubÂlished by ediÂtor Charles Knight, appeared in sevÂerÂal volÂumes between 1838 and 1841, illusÂtratÂed with conÂserÂvÂaÂtive engravÂings by varÂiÂous artists. Knight’s ediÂtion introÂduced the trend of spelling Shakespeare’s name as “Shakspere,” as you can see in the title page to the “ComeÂdies, VolÂume I,” at the top of the post. FurÂther down, see two repÂreÂsenÂtaÂtive illusÂtraÂtions from the plays, the first of HamÂlet’s OpheÂlia and secÂond CoriÂolanus’ Roman Forum, above.
Part of a wave of “earÂly VicÂtoÂriÂan popÂulism” in ShakeÂspeare pubÂlishÂing, Knight’s ediÂtion is joined by one from KenÂny MeadÂows, who conÂtributed some very difÂferÂent illusÂtraÂtions to an 1854 ediÂtion. Just above, see a Goya-like illusÂtraÂtion from The TemÂpest. LatÂer came an ediÂtion illusÂtratÂed by H.C. Selous in 1864, which returned to the forÂmal, faithÂful realÂism of the Knight ediÂtion (see a renÂderÂing of HenÂry V, below), and includes phoÂtograuÂvure plates of famed actors of the time in cosÂtume and an appenÂdix of “SpeÂcial Wood Engraved IllusÂtraÂtions by VarÂiÂous Artists.”
The final ediÂtion whose illusÂtraÂtions GoodÂman has digÂiÂtized and catÂaÂlogued on his site feaÂtures engravÂings by artist John Gilbert. Also pubÂlished in 1864, the Gilbert may be the most expresÂsive of the four, retainÂing realÂist proÂporÂtions and mise-en-scène, yet also renÂderÂing the charÂacÂters with a psyÂchoÂlogÂiÂcal realÂism that is at times unsettling—as in his fierce porÂtrait of Lear, below. Gilbert’s illusÂtraÂtion of The TamÂing of the Shrew’s KatheÂriÂna and PetruÂchio, furÂther down, shows his skill for creÂatÂing believÂable indiÂvidÂuÂals, rather than broad archeÂtypes. The same skill for which the playÂwright has so often been givÂen credÂit.
But ShakeÂspeare worked both with rich, indiÂvidÂual charÂacÂter studÂies and broadÂer, archeÂtypÂal, mateÂrÂiÂal: psyÂchoÂlogÂiÂcal realÂism and mythoÂlogÂiÂcal clasÂsiÂcism. What I think these illusÂtratÂed ediÂtions show us is that ShakeÂspeare, whoÂevÂer he (or she) may have been, did indeed have a keen sense of what Eliot called the “objecÂtive corÂrelÂaÂtive,” able to comÂmuÂniÂcate comÂplex emoÂtions through “a skillÂful accuÂmuÂlaÂtion of imagÂined senÂsoÂry impresÂsions” that have impressed us as much on the canÂvas, stage, and screen as they do on the page. The emoÂtionÂal expresÂsiveÂness of Shakespeare’s plays comes to us not only through eloÂquent verse speechÂes, but through images of both the starkÂly eleÂmenÂtal and the uniqueÂly perÂsonÂal.
Spend some time with the illusÂtratÂed ediÂtions on Goodman’s site, and you will develÂop an appreÂciÂaÂtion for how the plays comÂmuÂniÂcate difÂferÂentÂly to the difÂferÂent artists. In addiÂtion to the search clouds, the site has a headÂer at the top for each of the four ediÂtions. Click on the name and you will see front and back matÂter and title pages. In the pull-down menus, you can access each indiÂvidÂual play’s digÂiÂtized illusÂtraÂtions by type—“Histories,” “ComeÂdies,” and “Tragedies.” All of the conÂtent on the site, GoodÂman writes, “is free through a CC license: users can share on social media, remix, research, creÂate and just do whatÂevÂer they want realÂly!”
Update: This post origÂiÂnalÂly appeared on our site in 2016. Since then, GoodÂman has been regÂuÂlarÂly updatÂing the VicÂtoÂriÂan IllusÂtratÂed ShakeÂspeare Archive with more ediÂtions, givÂing it more richÂness and depth. These ediÂtions include “one pubÂlished by John Tallis, which feaÂtures famous actors of the time in charÂacÂter.” This also includes “the first ever comÂpreÂhenÂsive full-colour treatÂment of Shakespeare’s plays with the John MurÂdoch ediÂtion.” The archive, GoodÂman tells us, “now conÂtains ten ediÂtions of Shakespeare’s plays and is fairÂly comÂpreÂhenÂsive in how peoÂple were expeÂriÂencÂing ShakeÂspeare, visuÂalÂly, in book form in the 19th CenÂtuÂry.”
Note: When you navÂiÂgate to a speÂcifÂic colÂorÂing book withÂin thecolÂlecÂtion, you may iniÂtialÂly encounter a blank secÂtion on the page. Please scroll down to locate the actuÂal downÂload link for the colÂorÂing book.
The Book of Colour ConÂceptswill soon be pubÂlished by Taschen in a mulÂtiÂlinÂgual ediÂtion, conÂtainÂing text in EngÂlish, French, GerÂman, and SpanÂish. This choice makes its abunÂdance of explanaÂtoÂry scholÂarÂship wideÂly accesÂsiÂble at a stroke, but even those who read none of those four lanÂguages can enjoy the book. For it takes a deep dive — with Taschen’s charÂacÂterÂisÂtic visuÂal lavÂishÂness — into one of the truÂly uniÂverÂsal lanÂguages: that of colÂor. ThroughÂout its two volÂumes, The Book of Colour ConÂcepts presents more than 1000 images drawn from four cenÂturies’ worth of “rare books and manÂuÂscripts from a wealth of instiÂtuÂtions, includÂing the most disÂtinÂguished colÂor colÂlecÂtions worldÂwide.”
ReproÂduced withÂin are selecÂtions from more than 65 books and manÂuÂscripts, includÂing such “semÂiÂnal works of colÂor theÂoÂry” as Isaac Newton’s Opticks and Johann WolfÂgang von Goethe’s Zur FarÂbenÂlehre, as preÂviÂousÂly feaÂtured here on Open CulÂture.
Kate MothÂes at ColosÂsal adds that “readÂers will also find studÂies from ColÂor ProbÂlems, the earÂly 20th-cenÂtuÂry handÂbook by EmiÂly Noyes VanÂderÂpoel, which described theÂoÂries that would trend in subÂseÂquent decades in design and art, like Joseph Albers’s series Homage to the Square.” In The Book of ColourConÂcepts’ 800 pages also appear a variÂety of works that don’t belong, strictÂly speakÂing, to the field of colÂor theÂoÂry, such as a botanÂiÂcal noteÂbook by the spirÂiÂtuÂalÂist and earÂly abstract artist Hilma af Klint.
Co-authors Sarah LowenÂgard and AlexanÂdra Loske bring seriÂous creÂdenÂtials to this endeavÂor: LowenÂgard is a hisÂtoÂriÂan of techÂnolÂoÂgy and sciÂence with more than 40 years’ expeÂriÂence as an “artiÂsan colÂor-makÂer,” and Loske is an art hisÂtoÂriÂan and curaÂtor who speÂcialÂizes in “the role of women in the hisÂtoÂry of colÂor.” Both would no doubt agree on the speÂcial valÂue of revisÂitÂing the hisÂtoÂry of this parÂticÂuÂlar subÂject here in the earÂly twenÂty-first cenÂtuÂry, with all its disÂcourse about the disÂapÂpearÂance of colÂor from our everyÂday lives. It’s worÂriÂsome enough that spoÂken and writÂten lanÂguages outÂside the EngÂlish-French-GerÂman-SpanÂish league seem to be declinÂing; relÂeÂgatÂing ourÂselves to an ever-narÂrowÂing vocabÂuÂlary of colÂor would be an even graver loss indeed.
Based in Seoul, ColÂin Marshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂterBooks on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
Less well known is his diaÂgram of the ApocÂaÂlypse. Between 1877 and 1890, notes the Red Cross MuseÂum webÂsite, HenÂry Dunant “proÂduced a series of diaÂgrams reflectÂing his disÂtincÂtive underÂstandÂing of humanity’s past and future. Inspired by ChrisÂtÂian revivalÂism, the drawÂings depict a timeÂline from the Flood of Noah to what Dunant believed was an impendÂing ApocÂaÂlypse. The diaÂgrams fuse mysÂtiÂcal refÂerÂences with bibÂliÂcal, hisÂtoric and sciÂenÂtifÂic events, while also setÂting up a clear oppoÂsiÂtion between GeneÂva, as the cenÂtre of the RefÂorÂmaÂtion, and the Catholic Church.”
The image above is the first drawÂing out of a series of four, made with colÂored penÂcils, ink, India ink, wax crayons, and waterÂcolÂors. Writes Messy Nessy, Dunant “spent conÂsidÂerÂable time on the drawÂings, organÂisÂing the symÂbolÂic eleÂments accordÂing to a strict logÂic, makÂing preparaÂtoÂry sketchÂes and painstakÂingÂly incorÂpoÂratÂing drawÂings and colourÂings into his chronolÂoÂgy.” All along, he was driÂven by the belief that the ApocÂaÂlypse was in the offÂing, just a short time way.
The stoÂry of VinÂcent van Gogh’s life tends to be defined by his psyÂchoÂlogÂiÂcal conÂdiÂtion and the not-unreÂlatÂed manÂner of his death. (It does if we set aside the episode with the mutiÂlatÂed ear and the brothÂel, anyÂway.) The figÂure of the impovÂerÂished, neglectÂed artist whose work would revÂoÂluÂtionÂize his mediÂum, and whose descent into madÂness ultiÂmateÂly drove him to take his own life, has proven irreÂsistible to modÂern stoÂryÂtellers. That group includes painter-filmÂmakÂer Julian SchnÂabel, who told Van Gogh’s stoÂry a few years ago with At EterÂniÂty’s Gate, and VinÂcente MinÂnelÂli, who’d earÂliÂer givÂen it the full CinÂeÂmaSÂcope treatÂment in 1956 with Lust for Life.
It is thanks in large part to Lust for Life that casuÂal Van Gogh fans long regardÂed WheatÂfield with Crowsas his final paintÂing. “The paintÂing’s dark and gloomy subÂject matÂter seemed to perÂfectÂly encapÂsuÂlate the last days of Van Gogh, full of foreÂbodÂing of his evenÂtuÂal death,” says galÂlerist-YoutuÂber James Payne in his new Great Art Explained video above.
RecentÂly, howÂevÂer, the conÂsenÂsus has shiftÂed toward a difÂferÂent, lessÂer-known work, Tree Roots. Like WheatÂfield with Crows, Van Gogh paintÂed it in the rurÂal vilÂlage of Auvers-sur-Oise, to which he moved after checkÂing out of the last asyÂlum in which he’d received treatÂment. There, in his final weeks, he “worked on a series of landÂscapes on the hills above Auvers,” all renÂdered on wide-forÂmat canÂvasÂes he’d nevÂer used before.
That this series conÂsists of “vast expansÂes, totalÂly devoid of any human figÂures” makes it look “as if he has givÂen up on humanÂiÂty.” What’s more, Tree Roots is also “devoid of form. It is unfinÂished, which is extremeÂly unusuÂal for Van Gogh, and a sign it was still being worked on when he died.” Its obscure locaÂtion only became clear durÂing the time of COVID-19, when Van Gogh speÂcialÂist Wouter van der Veen was lookÂing through a cache of old French postÂcards he’d received and hapÂpened to spot a highÂly familÂiar set of roots. Thanks to this coinÂciÂdence, we can now visÂit the very spot in which Van Gogh paintÂed what’s now thought to be his very last work on the mornÂing of July 27th, 1890, the same day he chose to end his own life. This counts as a mysÂtery solved, but sureÂly the art Van Gogh made durÂing his abbreÂviÂatÂed but prodiÂgious career still has much to reveal to us.
Based in Seoul, ColÂin Marshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂterBooks on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
In 1957, SalÂvador DalĂ creÂatÂed a tableÂware set conÂsistÂing of 1) a four-tooth fork with a fish hanÂdle, 2) an eleÂphant fork with three teeth, 3) a snail knife with tears, 4) a leaf knife, 5) a small artiÂchoke spoon, and 6) an artiÂchoke spoon. When the set went on aucÂtion in 2012, it sold for $28,125.
InforÂmaÂtion on the cutÂlery set remains hard to find, but we susÂpect that it sprang from DalĂ’s desire to blur the lines between art and everyÂday life. It’s perÂhaps the same logÂic that led him to design a surÂreÂalÂist cookÂbook—Les DinÂers de Gala—16 years latÂer. It’s not hard to imagÂine the utenÂsils above going to work on his oddÂball recipes, like “Bush of CrawÂfish in Viking Herbs,” “ThouÂsand-Year-Old Eggs,” and “Veal CutÂlets Stuffed with Snails.” If you hapÂpen to know more about DalĂ’s creÂation, please add any thoughts to the comÂments below.
The US Postal SerÂvice will be classÂing up the joint, with the planned release of 16 stamps feaÂturÂing the phoÂtogÂraÂphy of Ansel Adams. They write:
Ansel Adams made a career of craftÂing phoÂtographs in exquisÂiteÂly sharp focus and nearÂly infiÂnite tonalÂiÂty and detail. His abilÂiÂty to conÂsisÂtentÂly visuÂalÂize a subÂject — not how it looked in realÂiÂty but how it felt to him emoÂtionÂalÂly — led to some of the most famous images of America’s natÂurÂal treaÂsures includÂing Half Dome in California’s Yosemite ValÂley, the Grand Tetons in Wyoming, and Denali in AlasÂka, the highÂest peak in the UnitÂed States.
Due to be unveiled on May 15th, the stamps will feaÂture iconÂic US landÂscapes, includÂing Half Dome in Yosemite NationÂal Park, MonÂuÂment ValÂley in AriÂzona, the Grand Tetons, the Snake RivÂer and more. Find more inforÂmaÂtion on the stamps here.
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