Time I think to look at some of the art nouveau illustrations by J.R. Witzel for Jugend magazine...
Josef Rudolf Witzel was an illustrator and painter born in Frankfurt in 1867. He was also one of the pioneers of art nouveau in Germany.
Witzel studied art at the Staatliche Hochschule für Bildende Künste in Frankfurt, before moving to Munich in 1890. It was in Munich that J.R. Witzel met Franz Von Stuck and The Secession, a group of artists who stood against official paternalism in art.
In 1896 J.R. Witzel began producing cover art for a new publication. Jugend ("Youth") was a German art nouveau magazine founded by Georg Hirth. Witzel's style fitted well with Hirth's idea of "Jugendstil."
Josef Witzel contributed illustrations to Jugend up to the start of World War One. After that he worked mostly on commercial poster art.
Witzel's illustration style is both intricate and sparing: he uses just enough lines to capture the flow of natural forms.
Josef Witzel passed away in Gräfelfing in 1924. By then Art Deco had replaced Art Nouveau in the public taste, but Witzel will always be remembered as one of the fathers of Jugendstil.
You can browse Jugend online, thanks to the ever excellent University of Heidelberg archives: digi.ub.uni-heidelberg.de/diglit/jugend Do see what you think.
Bis zum nächsten Mal...
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He was the terror of London; a demonic figure with glowing eyes and fiery breath who could leap ten feet high. The penny dreadfuls of the time wrote up his exploits in lurid terms. But who was he really?
Today I look at one of the earliest pulp legends: Spring-Heeled Jack!
London has always attracted ghosts, and in the 19th Century they increasingly left their haunted houses and graveyards and began to wader the capital's streets.
But one apparition caught the Victorian public attention more than most...
In October 1837 a 'leaping character' with a look of the Devil began to prey on Londoners. Often he would leap high into the air and land in front of a carriage, causing it to crash. It would then flee with a high-pitched laugh.
Today in pulp I look back at New Zealand's home-grow microcomputer, the 1981 Poly-1!
Press any key to continue...
The Poly-1 was developed in 1980 by two electronics engineering teachers at Wellington Polytechnic, Neil Scott and Paul Bryant, who wanted to create a computer for use in New Zealand schools. Education Minister Merv Wellington liked the idea and gave it the green light.
Backed by government finances, and in partnership with Progeni Computers, Polycorp was formed in 1980 to began work on the prototype for the official Kiwi school computer.
It was the biggest manhunt in Britain: police, the press, aeroplanes, psychics all tried to solve the disappearance. In the end nobody really knew what happened. It was a mystery without a solution.
This is the story of Agatha Christie's 11 lost days...
By 1926 Agatha Christie's reputation as a writer was starting to grow. Her sixth novel - The Murder of Roger Ackroyd - had been well-received and she and her husband Archie had recently concluded a world tour. But all was not well with the marriage.
In April 1926 Agatha Christie’s mother died. Christie was very close to her: she had been home-schooled and believed her mother was clairvoyant. The shock of her sudden death hit the author hard.
Many readers have asked me over the years what my definition of pulp is. I've thought about it a lot, and the definition I keep coming back to... well it may surprise you.
Let me try and set it out.
There are lots of definitions of pulp out there: in books, in academic papers and on the web. And most circle back to the same three points: the medium, the story type and the method of writing.
Pulp is of course a type of cheap, coarse paper stock. Its use in magazine production from the 1890s onwards led to it becoming a shorthand term for the kind of fiction found in low cost story magazines.
let's take a look at the extraordinary work of Victorian illustrator and cat lover Louis Wain!
Louis Wain was born in London in 1860. Although he is best known for his drawings of cats he started out as a Victorian press illustrator. His work is highly collectable.
Wain had a very difficult life; born with a cleft lip he was not allowed to attend school. His freelance drawing work supported his mother and sisters after his father died. Aged 23 he married his sisters' governess, Emily Richardson, 10 years his senior.