Unterlinden
@munterlinden.bsky.social
This account is *not* affiliated with the Musée Unterlinden in Colmar. Topics: ※ Allusions by Gustave Doré and Henry Holiday to two paintings in the Isenheim Altarpiece by Matthias Grünewald. ※ Playing with pareidolia and art. by @goetzkluge.bsky.social
This is a detail from "The Temptation of St. Anthony" (c. 1512-1516) by Matthias Grünewald (Mathis Gothardt Neithardt). Compared to the hidden devil in the painting, those demons are quite cute. The guides of the Musée Unterlinden are aware of the hidden face. But do they talk about it to visitors?
How do guides deal with hidden things in paintings? Some have fun.
The Hunting of the Snark@snarkhunt.bsky.social · 3w ago"The gallery staff at the Walker Art Gallery have been mischievously pointing it out to (adult) visitors for years : )"
※ 100% ISENHEIMER ALTAR in DEUTSCH musee-unterlinden.vivaticket.fr/billets/100-... ※ VISITE GUIDEE LE RETABLE D'ISSENHEIM musee-unterlinden.vivaticket.fr/fr/billets/v...
#WorldCatDay #InternationalCatDay #CatDay #Kittens Details from a painting by Matthias Grünewald and from an illustration by Henry Holiday to "The Hunting of the Snark", who saw a Kitten in Grünewalds painting. To artists paredolia is a tool.
![https://snrk.de/#kitty
[top]: Matthias Grünewald: 'Visit of Saint Anthony to Saint Paul', retinex filtered, vectorized and color desaturated detail from one of the panels of the Isenheim altarpiece (1512–1516).
[bottom]: Henry Holiday: from an illustration to the chapter "The Beaver’s Lesson" in Lewis Carroll’s "The Hunting of the Snark".](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:l6iae4tlmgtc4xzkeb3oyjrn/bafkreidcu5na6hvfgbiijg2vojt6i4quvki36jjp6tocr4qbeoxubwqndu)
Henry Holiday saw a #kitten in the painting when illustrating Lewis Carroll’s “The Hunting of the Snark”. #TheHuntingOfTheSnark #MUnterlinden Regrettably, the Musée Unterlinden in Colmar has no BlueSky account yet. On another account they reposted my comparison. (Links in ALT text)
Quite some time ago I offered my @munterlinden.bsky.social account to the Musée Unterlinden. "munterlinden" is their name on that toXic platform where Musk manipulates the reach of free speech. But the museum didn't respond. Therefore I decided to keep my "munterlinden" account for myself.
Should I better call it “Trooboo Roy”? (He’s not the friendly ghost True Boo.) How about “Trübü Rwa”?
Le retable : mode d'emploi - Das Retabel : Bedienungsanleitung Musée Unterlinden (User manual for an altar piece) youtu.be/Ff4Po1QPBoc
🩶 This Pebble could represent one of the oldest known abstractions of a human face in the prehistoric record. #RockinTuesday #pareidolia #archaeology
World’s oldest fingerprint may be a clue that Neanderthals created art
A man 43,000 years ago dipped a finger in red pigment and made a nose on a face-like pebble in Spain, scientists say
theguardian.com
‘Pareidolia may have been the mechanism through which figurative representation emerged’
Why did our ancestors make startling art in dark, firelit caves? | Aeon Essays
New research transports us back to the shadowy firelight of ancient caves, imagining the minds and feelings of the artists
aeon.co
"The art of deniability" (@mahendra.bsky.social) When Henry Holiday illustrated Lewis Carroll's "The Hunting of the Snark" (1876), his playing with the pareidolia of the beholders of his illustrations allows him to hold them responsible for the things (especially the long ones) which they "see".
Ambiguous Snark@finger-in-his-hair.bsky.social · last yr.«“Just the place for a Snark!” the Bellman cried, As he landed his crew with care; Supporting each man on the top of the tide By a finger entwined in his hair.» Henry Holiday's illustration to the last chapter "The Vanishing" of Lewis Carroll's tragicomedy "The Hunting of the Snark" (1876).
As a painter, it’s been said, once Pareidolia detects an unintended face in the painting you’re doomed LOL.
2025-05-31, 11:00, Visite du Retable d'Issenheim Place Unterlinden, 68000 Colmar, France www.facebook.com/events/94888...
How about adding "The Hunting of the Snark" to the reading&viewing list? I think that Henry Holiday's illustrations (snrk.de) are as important as Lewis Carroll's text (snrk.de/snarkhunt).
From Jay Clouse, @jay.blog, "What Salvador Dali taught me about creative work", 2017 web.archive.org/web/20200918...
![※ Left: "Gala Contemplating the Mediterranean Sea" by Salvador Dalí.
※ Right: Same image viewed after blurring or looking at it from a distance of 20 meters I order to recognize the portrait of Abraham Lincoln.
From Jay Clouse, @jay.blog (https://bsky.app/profile/did:plc:j4qhffmuzbw7bk76p7fbe42z), "What Salvador Dali taught me about creative work" (https://web.archive.org/web/20200918064223/https://jayclouse.com/what-salvador-dali-taught-me-about-creative-work/), 2017
"[...] In 1976, Dali read a piece in Scientific American which claimed that the human eye could recognize an image with the minimum resolution of 16 x 16 (or 256 pixels). Below is the accompanying example in the magazine, which you will recognize as Abraham Lincoln.
Dali, who strikes me as sort of a brilliant jerk, called bullshit and set out to create a painting of lower resolution that could be recognized. His painting, shown below, used only 121 pixels.
Dali’s painting, when viewed up close, reveals an image of his wife, Gala, looking out of a window (hence the title, Gala Contemplating the Mediterranean Sea which at Twenty Meters Becomes the Portrait of Abraham Lincoln). But when viewed from afar (you guessed it: about 20 meters) you see the full image of Lincoln that Dali intended.For the last couple of days, I’ve struggled to keep the Lincoln view of what I’m working to accomplish. I know that I am painting Lincoln, but all I see is Gala.
But the reality is, I’m looking too closely at the work. I’ve got the canvas right up in front of my nose, and all I see is the micro view that makes up the macro view.It’s an easy trap to fall into. When you worry that your work isn’t accomplishing what you set out to do, take a step back (about 20 meters) and take another look. Sometimes you just get too close. [...]"](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:awes4jin25g27m764rffl4jd/bafkreiaep7y2xuusq344e6loasq3vwaet6pf2n3pcyuzuc2izwn4lmnpgy)
![https://snrk.de/#Arnheim
"We have neglected the gift of comprehending things through our senses. Concept is divorced from percept, and thought moves among abstractions. Our eyes have been reduced to instruments with which to identify and to measure; hence we suffer a paucity of ideas that can be expressed in images and an incapacity to discover meaning in what we see. Naturally we feel lost in the presence of objects that make sense only to undiluted vision, and we seek refuge in the more familiar medium of words. […] The inborn capacity to understand through the eyes has been put to sleep and must be reawakened."
Rudolf Arnheim (1904-2007): Art and Visual Perception, 1974, p. 1](https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:awes4jin25g27m764rffl4jd/bafkreigmkh3lgina3gte7j4feb74jfxlje7ld4amhiej4p3j3hihdzkizy)
