You are currently browsing the tag archive for the ‘Gothic’ tag.
Happy Halloween! This year, I have been working on a new series of artworks centered on flatfish. I suppose flatfish have supplanted toruses as the primary focus of my art. People seem to like flounder better than donuts (the asymmetric fish have more personality…or at least they have faces), however the universe is not shaped like a flatfish (according to current models), so it raises the question of what the flounder means symbolically. Flatfish are regarded as a delicious prey animal by humans, however they are excellent predators in their own right: they are sort of the middle-class of the oceans. Like the middle class, the pleurectiformes are experts at blending in, and they change their color and pattern to match their circumstances. Today’s circumstances, however, are not merely muddy sand flats—the whole world is filled with wild eclectic ambiguity which is hard for anyone to follow (much less a bottom-dwelling fish). My full flounder series thus explore the larger human and natural ecosystems of the late Holocene and early Anthropocene world. Each one lives in a little predatory microcosm where it is hunting and hunted.
The bizarre asymmetry of the flatfish also appeals to me. Since my artwork seemingly concerns topology, this may be significant—although a classical knot theorist would blithely observe that a flatfish is homeomorphic with a torus (assuming one regards the digestive tract as a continuous tube). At any rate it is currently Halloween and the flounder need to blend in with the monsters, goblins, witches, and mummies of the scary season! I made three black and white pen and ink flounders to use as Halloween coloring pages. These are supposed to print out at 8.5 inches x 11 inches, but who knows how wordpress will format them for your device? Let me know if you want me to send you a JPEG.
The top flounder is a classical Halloween artwork of haunted houses bats, witches, pumpkins, and mummies. In the center, mortality and the devil grasp for the human soul. The mood of the second artwork is more elusive and elegiac: dark fungi grow upon the sole as an underling hauls a dead gladiator away in the depths. Serpent monsters fill up the sky and our lady of the flowers blesses a corpse. The final pen and ink drawing is unfinished (so you can add your own monster) but it centers around a haunted jack-in-the-box and a ruined windmill. A bog monster, scarecrow and lady ghost haunt the doomed landscape.
I also threw in three little colored Halloween flounder at the bottom–as a teaser for my Instagram page. You should check it out for your daily flounder (free of commentary and text, as is increasingly the way of our digital age). I hope you enjoy these colorful treats and have a wonderful holiday!
This is Las Lajas sanctuary in Colombia. It was built on a bridge 50 metres (160 ft) tall which crosses the Guáitara River not far from the Ecuador border. This beautiful sanctuary, a gothic revival mini cathedral, was completed between 1916 and 1949, but previous chapels have existed at the site for a long time. According to folklore, the Virgin Mary appeared to a woman, Maria Mueces, and her deaf-mute daughter, Rosa, at the site in 1754. The two were passing by the Guaitara River when a storm broke out. They sought shelter by a waterfall coming from the canyon wall. Suddenly Rosa began shouting to her mother that the Virgin was calling to her and the pair witnessed the goddess above the gorge. Later when Rosa unexpectedly died, Maria went back to the canyon to pray, whereupon her daughter was restored to life. The modern church also features its own “miracle”: there is a fresco of the Virgin mother behind the altar…and nobody knows who painted it! To an artists, this latter miracle seems a little less like a miracle and more like an improperly executed PR plan. Also look at the Virgin’s enormous crown!
Ferrebeekeeper has a longstanding obsession with Gothic concepts and forms. We have explored the long strange historical roots of the Goths (which stretched back to the time of the Roman Empire and the northern corners of Europe), and looked at Gothic aesthetics ranging from clocks, to beds, to gates, to houses, to alphabets, to cathedrals. Today’s Gothic-themed post straddles the divide between literature and architecture. We already saw such a two discipline dynamic at work with the beginning of the Gothic revival, an aesthetic movement which grew up out of a popular novel The Castle of Otranto.
The term “Steamboat Gothic” is sort of a reverse case. In 1952, Frances Parkinson Keyes published “Steamboat Gothic” a long-winded romantic novel about the lives and loves of a riverboat gambler and his progeny as they pursue their fortunes over generations beside the Ohio and Mississippi Rivers. After the novel came out the great 19th century wedding cake mansions of columns and porches which stood along these rivers came to be known as “steamboat gothic.” This beautiful filigree style was thought to resemble the many tiered decks of great southern steamboats from the belle epoque of river travel.
Many different Victorian design trends come together in “steamboat gothic”–the Italianate, Gothic revival, and Carpenter’s Gothic mix together with style trends like Greek revival and “nautical.” The mixture simultaneously evokes the beauties of classical antiquity, the ante-bellum south, and 19th century middle America.
Look at these beautiful porches and porticoes. I wish I were on the veranda of one of these beauties sipping lemonade and looking out over the river (although really I would probably be being bitten by mosquitoes as I desperately painted yet another layer of snow white paint on a big empty house).
My apologies! I usually try to write a blog post every workday (and answer comments the day…or at least the week…that you all leave them), however, unfortunately my poor computer became overwhelmed by the vicissitudes of the modern world and died unexpectedly. It was one of those classic heartbreaking electronic death scenes: I was watching the emotional climax of a movie on Netflix when suddenly there was a loud diminishing power-down noise (poink! BZZzzzzfffft) and the image collapsed into a jagged phosphorescent line and suddenly my only computer was as dead as bipartisan compromise in America.
It is shocking how much is on a computer. I don’t just use it to write and communicate with friends around the world. It is also my graphic resource, my stereo, my document archive, my financial records, and my cookbook. Let this tale serve as a cautionary reminder to back things up on those cheap little portable hard drives!
Anyway, thanks to a heroic intercession by my friend the IT manager (who swooped in like Apollo on a cloud in French Neoclassical theatre) I am back in business with no lasting harm done. The whole scary episode has led me to reflect on the central place of computers in our lives…and yet they are all utilitarian gray and black boxes. If I designed a computer, it would look like a glowing ball of energy in a bell jar suspended on cabriolet legs—not like a flat screen connected to a miniature metal utility shed. I wondered if somebody had spent some time to jazz up computers with gothic stylings (a favorite aesthetic of mine) and I found these images which I have used to illustrate this post. These are so cool! Why can’t we have prettier computers? People of the future are going to look at our metal rectangles and conclude that we were primitives….although I guess if one’s fancy computer that looks like a Gothic cathedral just suddenly died it would be even more crushing than otherwise.
Anyway, i am sorry for the blog interruption. I will try to answer everyone’s excellent comments tomorrow! In the mean time, it’s good to be back on the internet!
OK, Last week was egg week here at Ferrebeekeeper where we looked at home-made egg-art and astonishing primordial mythology. Unfortunately, due to budget constraints and temporal vicissitudes, egg week only had 4 posts—yet we also need to keep moving on. Today’s post is therefore somewhat egg-themed….even if the real theme is more about the changing nature of language. It is a bridge from past to future—but a humorous one which has eggs at its center.
Here is a story from the late 15th century, when English was changing from Middle English to Modern English. The author, William Caxton, was a merchant, diplomat, and writer…and probably England’s first printer. He wrote this story in 1490 to marvel at how quickly the language was changing (indeed he relates how he can’t understand truly old English which seems like a completely foreign tongue). I have transcribed the story, as best I could, from the Gothic black letter manuscript (try reading some of the beautiful—but incomprehensible–Gothic calligraphy and I think you will appreciate my effort).
The story is a vignette about how language changes, seemingly on its own. This point is particularly poignant to modern readers who don’t speak with quite the same idiom and usage as the upstanding William Caxton! The story is about some merchants from the north who say eggs in the Norse fashion “eggys” as opposed to the South English way of saying it “eyren.” Misunderstanding ensues. It is interesting to note that contemporary English speakers talk about “eggs.” If I went to the C-town and asked for “eyren” they would probably look at me funny (or tell me where to get an iron or Irish whiskey). The Norse word for “eggs” clearly won out over the old Anglo-Saxon word when English went global. Anyway, here is my transcription of the story. Kindly help me out if you can figure it out better and enjoy the eyreny…err…the irony of Caxton’s words:
Fayn wolde I satysfye every man, and so to doo toke an olde boke and redde therin and certaynly the englysshe was so rude and brood that I could not wele understande it.
And altho my lord abbot of Westmynster ded do shewe to me late certain evydences wryton in olde englysshe for to reduce it in to our englysshe now usid.
And certainly it was wrton in suche wyse that it was more lyke to dutche than englysshe.
I could not reduce ne brynge it to be understonden.
And certaynly our language now used Uaryeth ferre from that. Which was used and spoken whan I was borne.
For we englysshe men ken borne under the domynacyon of the mone.
Which is neuer stedfaste, but ever waverynge wexynge one season and waneth & dycreaseth another season
And that comyn englysshe that is spoken in one Shyre varyeth from a nother.
In so moche that in my dayes happened that certayn marchauntes were in a ship in tamyse for to have sayled over the see into zeland
and for lacke of wynde they taryed atte Forrlonth, and wente to lanthe for to refreshe them
And one of them named Sheffelde a mercer cam in to an hous and axed(!!) for mete, and specyally he axyd after eggys.
And the goode wyf answerde that she could speke no frenche.
And the marchant was angry for he also could speak no Frenche but wolde have egges and she understode hym not.
And thenne at laste a nother sayd that he wolde have eyren then the good wyf sayd that she understood hym wel
Loo (?) What sholde a man in thyse dayes now wryte egges or eyren, Certaynly it is harde to playse every man that is in any
reputacyon in his contre. Wyll utter his comynycacyon and maters in suche maners & terms that fewe men shall understonde theym…
Apse and northern facade (Felix Benoist, 1861, lithograph)
Saint Denis was a third century Roman Christian who was sent to Roman Gaul by Pope Fabian. Denis was the first bishop of Paris, but when relations between pagans and Christians soured in the era of the Decian persecutions, he was martyred by decapitation upon Montmartre, the highest hill of Paris. According to tradition, after he was beheaded, Denis picked up his head and carried it 10 kilometers (6 miles) north while delivering a stirring ceremony. When the decapitated saint found the right spot (in what are now the suburbs of Paris—but what was then a Gallo-Roman cemetery) he put down his head and expired. In the late 5th century, St. Genevieve purchased this land and built Saint-Denys de la Chapelle. In the early 7th century, Dagobert, the king of the Franks chose this site as the location of a great Benedictine monastery the Abbey of Saint Denis. The site became a major center for pilgrimages during the Middle Ages (and the monastery grew even more rich due to a lucrative whaling concession, from the crown), but as the centuries wore on, the Carolingian church started to wear out (and the original sacred complex was not big enough to contain the throngs of worshipers).
West façade of Saint Denis, before the dismantling of the north tower (c. 1844 – 1845)
Thus, in the 12th century, Abbot Suger, a close friend of the kings of France, began to rebuild the church in a grand new style involving pointed arches, flying buttresses, large windows, high towers, and great interior spaces. This style—an abrupt departure from the Romanesque style, which had dominated architecture–was initially known as the French style. As the political fortunes of the Angevin dynasty waxed, the style spread throughout France, England, the Low Countries, Germany, Spain, northern Italy, and Sicily. The style quickly was renamed Gothic style and it became the dominant architecture of Europe in the late middle ages (and beyond). The Basilica of Saint Denis, the resting place of deceased French kings (did I mention that all but three French kings are buried there? I probably should have said that) was the first great Gothic building–the first high cathedral.
The nave of the Basilica of St. Denis. Shot from the chancel.
Back in the day, my grandparents had a big drawer filled with skeleton keys that didn’t really seem to go to anything. It was deeply evocative yet ultimately frustrating—like a shelf full of novels in an unknown language or a secret passage in the back of a painting. Today’s post is like that as well. Here are beautiful keys to unknown locks. Larger context is missing.
This post is almost like a Flickr gallery. And yet the keys are very beautiful. Plus it has been forever since we featured a Gothic post (and I like to have a few Gothic posts during the holidays when night is ascendant). Ferrebeekeeper might be running out of Gothic posts. Maybe we have mined that seam dry or do any of you have any ideas? Is there another locked door somewhere that this key goes to?
Shandon House, Scotland (circa present)
Here is one of the most beautiful Gothic houses I could find on the internet: Shandon House, a 19th century Scottish revival manor/castle overlooking Gare Loch in Scotland. The house was built in 1849 on 31 acres of beautiful Scottish hills. It was owned by various grandees (shipping magnates, tobacco merchants, and such), before becoming a boys’ school, but the school then closed in the mid-eighties.
The region where Shandon House is located is dominated by Faslane Naval Base, one of the three ports of the Royal Navy in the United Kingdom (and arguably the most important). So Shandon House was purchased by the Ministry of Defense…but since the Ministry of Defense has no actual use for dark fairy tale castles, the house has been derelict for over a decade, and may now be beyond repair. As far as I can tell, the MOD is incapable of finding buyers and hopes to knock the house down (although its designation as a historical landmark makes such an outcome somewhat unlikely).
It is a shame the house is decaying away, since this is truly an elegant and imposing structure. On the other hand, who would actually live here other than evil sorcerers, mad scientists, Dalmatian coat enthusiasts, and other suchlike Disney villain folk?
Nightjar (Wayne Ferrebee, 2015, color pencil and ink)
It is 11:00 PM on Friday night after a long week and I have no blog post written. You know what that means! It’s time to take out my little book and post some of the frivolous sketches which I do on the train or at lunch. Since it is October and we are approaching the scary Halloween feature week, I have been doing some creepy otherworldly little drawings. Above is a nighttime laboratory with two mad scientists hard at work doing some transgenic modifications to various organisms. Ethereal spirit people drift by outside beneath the cold stars and various beasts and plants inhabit the spaces of the Gothic room not taken up by weird lab apparati. The seated scientist bears a striking resemblance to a particular Abrahamic deity, but perhaps he is just playing god (not that there is anything wrong with that). Only when I was done with the picture did I realize that the second scientist bears a striking resemblance to Rick from Rick and Morty (do you watch The Adventures of Rick and Morty? You should!).
Little Glowing Man in Pod (Wayne Ferrebee, 2015, colored pencil and ink)
In the second drawing, a little glowing man in a hyperbaric pod lands on a strange world as a many limbed beast cavorts atop his craft. The fronds of the creature’s vegetative back are a refuge for tiny green elf-like beings. A pulpy red sphere with a green top in the foreground may be a tomato…or a larval version of the creature. There is really nothing more to say about this image.
The Library at Strawberry Hill
Horror writer Horace Walpole was one of the foremost figures responsible for the Gothic revival style which swept the English speaking world during the nineteenth century. Ferrebeekeeper has dedicated a post to his bizarre literary monsterpiece “The Castle of Otranto” and we have described the history of his own bizarre Rococo Gothic manor house “Strawberry Hill”. What we never showed you was the sumptuously decorated Gothic library of Strawberry Hill, which is surely one of England’s most splendid and eccentric rooms.
In the library, great white pointed arches reach up a green ceiling (dark green prior to a recent restoration and pale green after) towards a sumptuously painted ceiling. On the ceiling knights ride through intricate decorations around Walpole’s great “W”. Though he was the Prime Minister’s son, a baron, and a powerful politician, Horace Walpole was foremost a man of letters. His beautiful library reflects that interest and is a real work of art in its own right. It is not hard to see why the room, like the house, influenced a whole century of imitation and cast aesthetic echoes down to the present.
