Welcome to Weirdsville: The Lady Vanishes

Very cool: the fantastic Dark Roasted Blend just posted by article on the theft of the Portrait of Lisa Gherardini, wife of Francesco del Giocondo (the Mona Lisa to you and I).

This, and other fun articles can, of course, be found in my fun book, Welcome to Weirdsville - out now from Renaissance E Books/PageTurner Editions.

The Lady Vanishes

If it had been done in this age of iphones, ipads, and the rest of our high tech ilives, the movie would have had Clooney or Willis dangling upside down over a pick-up-sticks weave of alarm lasers while a geeky cohort (maybe Steve Buscemi or Alan Cumming), face green from the digital overload bouncing up from a laptop, rattles off a second-by-second update on the imminent wee-oo-wee-oo arrival of the stern-jawed Groupe d'Intervention de la Gendarmerie Nationale.


But while the lady did vanish – a very, very special lady – the means of her vanishing, while maybe a tad less dramatic, is no less fascinating. While you'll no doubt immediately recognize the lady in question, you may not know her full name, or some of the more interesting details of her portrait. Begun by a certain well-known artist back in 1503, the likeness of Lisa del Giocondo wasn't finished until some years later, around 1519. After the death of this rather well known artist, the painting was purchased by King François I, and then, after a certain amount of time and other kings, it finally ended up in the Louvre. An interesting note, by the way, is that – while not a King – the painting was borrowed from the Louvre by Napoleon to hang in his private quarters, and was returned to that famous French museum when the Emperor became ... well, not the Emperor.



Its official title is Portrait of Lisa Gherardini, wife of Francesco del Giocondo but the smile says it all, and in 1911 it was stolen – and wasn't returned until 1913.

While much of the theft is still a mystery, what is known is that on August 22, 1912, Louis Béroud, a painter and fan of the legendary Mona Lisa, came into the Louvre early one morning to study the famous work of Leonardo da Vinci, instead finding a bare wall. In a pure Inspector Clouseau bit of history, the museum staff didn't immediately put bare wall and missing painting together and instead thought the painting had been taken to be photographed. It took
Béroud, checking with the photographers themselves, to bring it to the attention of the guards that the painting had been stolen.

Suspects were many and varied: a curious one was Guillaume Apollinaire, the critic and surrealist, who, because he can once called for the Louvre to be burnt to the ground, was actually arrested. While no-doubt annoying, he was eventually cleared and released, but not before trying to finger, unsuccessfully, a friend of his for the theft, another rather well known painter by the name of Pablo Picasso.

Alas, the actual thief and the method of the robbery are almost painfully plain, though the man and the means weren't discovered until much later. In 1913, Vincenzo Peruggia, a Louvre employee, was nabbed when he contacted Alfredo Geri, who ran a gallery in Florence, Italy, about the stolen painting.


The story that emerged after his arrest was that on August 20th, 1912, had Peruggia hid in the museum overnight. On the morning of Sunday, the 21st, he emerged from hiding, put on one of the smocks used by employees and, with ridiculous ease, simply took what is arguably the most famous painting in the world and put it under his coat and walked out the door with it. When the gendarmes later knocked on Peruggia's door they'd simply accepted his excuse that he'd been working somewhere else the day of the theft, while the painting was hidden under his bed.

What isn't plain, though, was Peruggia's motivation for the theft.

[MORE]

Introduction to FuturesPast Editions eBooks

(from M.Christian's Technorotica)

Here's a very, very. very cool video from Renaissance E Books (who I have the absolute pleasure to work with, talking about their amazing Futures-Past science fiction, fantasy, and horror imprint ... created by the brilliant Bill Mills.

Norman Bel Geddes

(via rethreads) 

Norman Bel Geddes (1893-1958) was an industrial designer who focused on aerodynamics. His designs extended to unrealized futuristic concepts: a teardrop-shaped automobile, and an Art Deco House of Tomorrow.”By popularizing streamlining when only a few engineers were considering its functional use, he made possible the design style of the thirties.

Welcome To Weirdsville: The Not-Tall Tale Of The Very Tall Potsdam Grenadiers

Here's another fun article from my new book, Welcome to Weirdsville - this time on the (rather) tall Potsdam Grenadiers:

The Not-Tall Tale Of The Very Tall Potsdam Grenadiers 

If you're going to dream, the old saying goes, then you might as well dream big. But Friedrich Wilhelm I did more than dream because, as another expression says all too well: It's good to be the King.

Friedrich, born in 1688, was just one in a series of notable Prussian leaders. Friedrich, though, unlike his father, Frederick I – who achieved much during his reign, including wearing the crown for the first time, or Friedrich's son – Frederick II, who was a reformer and fervent supporter of reason and the arts – Friedrich, to put it mildly, loved a man in uniform ... in a secularly big way.

Friedrich, you see, had this thing about the military. Oh, sure, he did, during his reign, improve his then-tiny country's defenses, and carefully – almost pathologically – controlled Prussia's economy to the point when he finally passed away he left behind an awesome surplus. But Friedrich's military obsession wasn't really about keeping his people safe, or even about acquiring new territories: Friedrich liked – really liked – a grand spit and polish display.

How big? How grand? Well, Friedrich's all-consuming passion was for his grenadiers, a Regiment hand-picked not for their skill in battle, their heroic abilities, but for being tall.

In a time when the average height was probably around five foot something, the grenadiers – which quickly became known by the Prussians as the Lange Kerls (Big Guys) – began at six feet and went up up from there.

The Big Guys – and some of them were very big, coming in around seven feet – were the king's all-consuming passion, to the point where it became common for foreign dignitaries to use 'gifts' of very tall men to curry favor with Friedrich. But even these presents, many of them with little say in the matter, weren't enough to satisfy Friedrich's obsession: his agents, promised huge rewards, were dispatched to the far corners of Europe to get, by any means necessary, the tallest people they could find.

To say these agents were zealous would be an understatement: there are tales of them kidnapping farmers from their fields, innkeepers from their taverns, an Irish priest in the middle of a sermon, and they even had the audacity to try to grab a Austrian diplomat. There's even the story of one poor soul who was snatched off the streets of some foreign city and shipped back to Prussia, but who arrived stiff and cold because the agents forgot to punch air-holes in the crate.

Friedrich was so determined to fill the ranks of his grenadiers he even began his own program of selective breeding, offering tall women and men rewards to produce even taller children – and heaven help you if you knew someone nice and tall and didn't tell the king about it.

Oh, how the king loved his grenadiers: he would lovingly paint their portraits from memory, or order them to march for hours and hours around his palace courtyard just so he relish in their military tallness, and, if the king was feeling under the weather, he would even have them thunderously circle his bed until he got better. As he told the French ambassador: "The most beautiful girl or woman in the world would be a matter of indifference to me, but tall soldiers – they are my weakness."
Yes, it was very good to be the king – but, alas, it was not so grand to be one of his grenadiers. Even though Friedrich doted over them, many of his giants were in agony from diseases related to their gigantism, were painfully depressed after finding themselves in a unfamiliar land and unable to speak a word of German, or who – again as a tragic effect of their great height – were mentally the age of a young child. Desertions were common, but since the giants were, well, 'gigantic' they were quickly caught and subsequently, and brutally, punished. Some, sadly, made the ultimate escape – but even suicides didn't dissuade the king from begging, borrowing, or out-and- out stealing tall men for his grenadiers. At its (excuse me) 'height' the flamboyant regiment numbered over 3,000 men.

Not surprising, considering how incredibly infatuated Friedrich was with them, the grenadiers were never sent into battle.

Eventually, though, the king died, and with his death the kingdom, and Friedrich's beloved Potsdam Grenadiers, were passed down to his son, Frederick II. But while his father adored brass fittings, a good uniform, and everything else stern and military, the son – having been raised by a stern and military father – absolutely did not. Ironically, though, Frederick II did attack neighboring Austria, putting into practice some of his father's teachings. He also, after a time, put into actual combat what few of Friedrich's grenadiers remained.

There was one problem, though. Because they were considerably taller – very considerably taller – than their fellow soldiers, these surviving grenadiers didn't survive very long: they simply too big to miss.

Absolutely, if you're going to dream you should dream big. But if you're lucky – and you're a king – you don't have to settle for only dreams: you too, like Friedrich, can have your own marching, thundering fantasy brought to remarkably, and legendarily, tall life.

Boo!

(via thehystericalsociety)

Boogeymen (part of a series of eerie stereoviews) dated 1923

Syd Mead

(via midcenturymodernfreak)

1960s A futuristic hovercraft model designed by Syd Mead, the props designer for the SciFi classic, Blade Runner

Syd Mead

Gahan Wilson

 

Welcome to Weirdsville: The Art Of Science And The Science Of Art

Here's another fun piece from Dark Roasted Blend - and, naturally, in my new book, Welcome to Weirdsville.  This time it's about artists who are scientists ... and scientists who are artists.

It reads contradictory, conflicted: the art of science/science of art – the mixture of the logical and methodical with the imaginative and emotional.

But science and art – or, if you’d prefer, art and science – have held hands, if not close friends, for a very long time. Greek and Roman artists followed often strict guidelines considering the correct mathematical proportions of the figures in their frescoes and sculptures, Japanese woodblocks were as much about mechanical precision as they were about the subject being printed, the Renaissance was all about using science to bring a literal new dimension to painting, and then you have the work of Leopold and Rudolf Blaschka.

No, you haven’t heard of Leopold or Rudolf Blaschka – but you certainly should have. Unlike the Greeks and and Romans, the Japanese Ukiyo-e artists, Michangelo and Leonardo, Leopold and Rudolf Blaschka aren’t well known outside of either esoteric or scientific circles.

Which is what makes them so remarkable: they mixed the staggering beauty of pure art with a precision and dedication worthy of great scientists.

Leopold and Rudolf were glass artisans – possibly some of the greatest, ever. But what they created weren’t just glass and goblets, lampshades and windows. Nope, Leopold and Rudolf created nature.


Simplified, here’s the story: Professor George Lincoln Goodale, of Harvard, wanted to teach botany. But the problem with teaching botany is that plants have a tendency to … well, die. Sure, you could preserve some specimens but lots of species just don’t look the same after being dried – the plant version of stuffed and mounted. Yes, you could try using paintings or even photography but plants are – and here’s a surprise -- three dimensional. So what Professor Goodale did was ask the Blaschkas to create glass plants to help him teach his students about real ones.

But the Blaschkas did more than just recreate plants: they created astounding works of not only scientific accuracy but pure, brilliant, art. Looking at even the simplest of their efforts is deceptive – a sign of their genius. Their reproductions don't resemble the original plants – they look EXACTLY like them, created by hand, in fickle and fragile glass. All from 1887 to 1936.

What’s even more impressive is how many they created: more than 3,000 models of some 850 species – many of which can be seen on display at Harvard while many others are being painstakingly restored.

But the Blaschkas didn’t stop at plants. Not to take anything away from their artistry, but plants are relatively simple subjects. In some cases the Blaschkas could even work from live, or recently plucked, models. But there are much more difficult subjects out there, creatures so rare and fragile that very few men have ever seen them in their delicate flesh – even more frail than the glass the Blaschkas used to recreate them.


When these reproductions were made, in the late 19th century, only a few marine explorers and a few lucky seaman had seen any of them. Octopi, urchins, sea cucumbers, anemones, jellyfish, cuttlefish – they were too rare, too fragile, to be seen outside of the sea. That is until the Blaschkas.

I wish there was some way to request a moment of silence. I wish there was some way to ask you to stop reading this and look at the pictures here and at other places of the web. I wish there was some way for you to have a nice glass of wine, put on some nice music – maybe Bach, who also mixed science and art – and just admire the care, the craft, and the pure art the Blaschkas created.


The Blaschka brothers left an inspirational legacy. Josiah McElheny – the recipient of a MacArthur Genius Grant – is a kindred spirit to the Blaschkas, another mind-blowing artist who works in the whimsical and temperamental world of glass … and the disciplined domain of science.

McElheny’s works -- like that of the Blaschka brothers -- finds inspiration in the universe around us, particularly with one sculpture that depicts a key moment. In many ways this is a perfect place to stop: the Blaschka brothers created perfect artistic reproductions of nature to teach science, and McElheny created a sculptural interpretation of the ultimate act of creation, as discovered by science: the Big Bang.

The art of science, the science of art … in the end they are both looking for the same thing: a way to show the nature of everything.

Virgil Finlay