Selfies September 17, 2014 Selfies Lavie Tidhar Smile for the camera. When Gods and Vampires Roamed Miami September 16, 2014 When Gods and Vampires Roamed Miami Kendare Blake A Goddess Wars story As Good As New September 10, 2014 As Good As New Charlie Jane Anders She has three chances to save the world. Tuckitor’s Last Swim September 9, 2014 Tuckitor’s Last Swim Edith Cohn A hurricane is coming.
From The Blog
September 18, 2014
Cast As Thou Wilt: Kushiel’s Dart Dream Cast
Natalie Zutter
September 17, 2014
How Goldfinger Bound Sci-Fi to James Bond
Ryan Britt
September 15, 2014
Rereading the Empire Trilogy: Servant of the Empire, Part 1
Tansy Rayner Roberts
September 13, 2014
If You Want a Monster to Hunt, You’ll Get It. Doctor Who: “Listen”
Chris Lough
September 11, 2014
The Ghostbusters are an Antidote to Lovecraft’s Dismal Worldview
Max Gladstone
Showing posts by: Patrick Garson click to see Patrick Garson's profile
Mon
Aug 23 2010 3:27pm

From a land, from a faraway place

I have always found writing about Orientalism in illustration hard. It’s hard, because every picture becomes its own Arabian Nights; threatening to whisk you off into a different realm. Self-contained themes lead you away into another idea—and another, and another. Before you know it, you have leapt so far into a single image, clambering after ethereal motifs, that you cannot see your original starting point and—like a magic carpet that flies only so long as you believe in it—you start to sink.

[Warning—painted Victorian bosom below]

Wed
Mar 24 2010 12:02pm

No Beast So Fierce

So much more below the fold!In writing on fairy tales, there’s often a functionalist bent to the analysis. This means that tend we view fairy tales as fulfilling societal need: they contribute to the stability of a group or culture. In this way, characters and predicaments become allegories: practice for situations we may face ourselves in real life, or a form of ‘safe’ role play. Red Riding Hood is not about hiking in the forest; it’s a warning about wolves, about prostitution, a tale of sexual awakening, and so on, and so on.

I like this kind of analysis. It’s important because it dives under the smooth-looking surface of fairy tales, and stirs up a surprising turbidity. It makes us question unspoken assumptions (why is the youngest child always the special one?), and highlights the significance of story-telling in learning.  However, I don’t think it’s always perfect. By our very framing of fairy tales in this way–somewhat didactic way, orientated around adherence and cohesion—I think we sometimes lend them a static quality that they don’t always deserve.

[Read more...]

Tue
Feb 9 2010 2:05pm

Purity, Passion, & Profanity

Hi, everyone! Irene kindly asked me if I would like writing about some of the older fantasy-based art out there, an offer I’ve gratefully accepted. So I’ll be focusing on some of the great illustration that has inspired and shaped modern artists we admire.

Irene’s recent trip to the Waterhouse exhibition in Montreal sparked some interesting thoughts for me. Waterhouse’s work is undeniably beautiful—and evocative—but, despite the obvious love of women in his paintings, you can’t help wondering if they’re the subjects of his pictures, or perhaps in fact the objects. The femininity we see in his images is draped with Victorian concerns, and those concerns can be quite sexist.

Waterhouse (and his spiritual brethren in the pre-Raphaelite movement) has been tremendously influential in illustrating the fantastic, but what I’m going to do is look at some of the other artists working around this time. We’ll see how the same stylistic tics and influences emerge, but there’s a sense of interplay—of experimentation and even perhaps levity—that I think makes for more ambiguous, interesting images. Images that have, in my opinion, ultimately shaped just as much contemporary illustration.

[read some more]