"The earth grew dark, and its figures passed by me ... and among them all I beheld only Morella." Art by Harry Clarke for Edgar Allan Poe's story, "Morella" (1936) Re-discovering history's rebellious and obscure artists is one of our favourite pastimes on the internet. When their brushtrokes indu
Evoking the playful grotesques of Shel Silverstein, the gothic gloom of Neil Gaiman’s Sandman comics, the occult beauty of the Rider-Waite tarot deck, and the hidden horrors of H.P.
The short life of Irish Artist Harry Clarke is a prolific combination of more than 100 stained glass installations and his book illustrations. He's also one of the masters that has paved the way for the dark art movement we know today. His work, in both mediums, was heavily inspired by the French Symbolism and Art Nouveau movements.
The Traitors' Harry Clark flaunts lavish lifestyle all over social media after claiming he can't afford to treat his family to a meal at Toby Carvery without worrying about the bill
Harry Clarke - Art Gallery of Complete Illustrations from the First Edition of the book Faust, by Goethe published in 1925.
Harry Clark, winner of BBC's The Traitors season two, has experienced the lowest and highest moments of life - from hitting 'rock bottom' to becoming a TV star overnight
В 1925 году талантливейшему ирландскому художнику-витражисту и книжному иллюстратору Гарри Кларку (1889 г - 1931 г) заказали иллюстрации для специального издания Фауст, и они радикально отличаются от иллюстраций Делакруа, которые были созданы ровно столетием раньше. Сила, с которой…
Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration. The son of a craftsman (Joshua Clarke), Harry Clarke was exposed to art (and in particular Art Nouveau) at an early age. He went to school at Belvedere College, and by his late teens was studying stained glass at the Dublin Art School. While there, his The Consecration of St Mel, Bishop of Longford, by St Patrick won the gold medal for stained glass work in the 1910 Board of Education National Competition. After completing his education, Clarke moved to London to seek work as an artist. He won commissions to work on illustrations for new editions of Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” and Alexander Pope’s “The Rape of the Lock,” but completed neither of them. As it turned out, his first completed work was illustrating Hans Christian Andersen’s Fairy Tales (1916). Clarke’s next endeavour was a series of illustrations for an edition of Edgar Allan Poe’s “ Tales of Mystery and Imagination” (1916). This work sealed his reputation as a skilled illustrator, and was followed by editions of “The Years at the Spring” (1920), containing twelve colour plates and more than fourteen monotone images, Charles Perrault’s “Fairy Tales of Perrault” (1922), and Goethe’s “Faust” (1927), containing eight colour plates and more than seventy monotone and duotone images. The last of these is considered his masterwork – and largely prefigures the disturbing yet colourful imagery of 1960s psychedelia. Clarke’s timing could not have been more perfect, as he was working as an illustrator just as the golden-age of gift-book illustration was taking off (in the first quarter of the twentieth century). His work can be compared to other masters of the craft such as Arthur Rackham, Kay Nielsen and Virginia Frances Sterrett. Two of his most sought-after titles include promotional booklets for Jameson Irish Whiskey: “A History of a Great House” (1924) and “Elixir of Life” (1925), which was written by Geoffrey Warren. Clarke’s final book was the “Selected Poems of Algernon by Charles Swinburne,” published in 1928. During the 1920s, he also directed much of his attention at stained glass, producing more than 130 windows. Alongside his brother Walter, Clarke took over their father’s artist studio. (Their father had died in 1921). His glass is distinguished by the finesse of its drawing, unusual in the medium, his use of rich colours (inspired by an early visit to see the stained glass of the Cathedral of Chartres, he was especially fond of deep blues), and an innovative integration of the window leading as part of the overall design (his use of heavy lines in his black and white book illustrations is probably derived from his glass techniques). Clarke’s best-known stained-glass works are the windows of the Honan Chapel in University College Cork, the windows of Bewley’s Café on Dublin’s Grafton Street, and the window illustrating John Keats’ The Eve of St. Agnes in the Hugh Lane Municipal Gallery in Dublin Clarke died of tuberculosis on 6th January 1931 (while attempting to convalesce in Switzerland). Ill health had plagued both brothers, and his younger sibling died a year previous. Influenced by both Art Nouveau and Art Deco, Clarke’s illustrations and stained glass work remain highly sought after and appreciated in the present-day. Harry created over 160 stained glass windows for religious and commercial commissions throughout Ireland and England, and as far a field as the USA and Australia. Clarke is known as Ireland's greatest ever stained glass artist. This is part 1 of a 7-part series on the works of Harry Clarke: 1913 "The Dream" from The Rape of Lock by Pope 1913 "The Silver Apples of the Moon, The Golden Apples of the Sun" The Irish Review July 1913 1913 De Profundis ( Oscar Wilde ) watercolour and gouache 57.5 x 25.7 cm 1913 Rime of the Ancient Mariner: 1913 The Rime of the Ancient Mariner 1913 The Rime of the Ancient Mariner Ah! Well a-day! What evil looks had I from old and young! Instead of the cross, the albatross around my neck was hung 1913 The Rime of the Ancient Mariner The souls did from their body fly, — they fled to bliss or woe! And every soul, it passed by me, like the whizz of my cross-bow! 1914 Hibernia calendar design for an insurance company 1914 Mephisto pencil, pen and black ink and watercolour on paper 19 x 15.9 cm 1916 Hans Andersen's Fairy Tales:
Harry Clarke - Art Gallery of Complete Illustrations from the First Edition of the book The Selected Poems of Charles Swinburne, published in 1928.
The short life of Irish Artist Harry Clarke is a prolific combination of more than 100 stained glass installations and his book illustrations. He's also one of the masters that has paved the way for the dark art movement we know today. His work, in both mediums, was heavily inspired by the French Symbolism and Art Nouveau movements.
Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration. He was a children's book illustrator and a well-known designer of stained glass. For full biographical notes see part 1, and for earlier works by Clarke, see parts 1 and 2 also. This is part 3 of a 7-part series on the works of Harry Clarke: 1920 The Years At The Spring: The Year's at the Spring dust jacket Title illustration Frontispiece "And I shall have some peace there, for peace comes dropping slow" Title page Introduction page illustration Front matter Acknowledgement page illustration Acknowledgement end page illustration Contents page illustration List of Illustrations page List of Illustrations end page “April, April, laugh thy girlish laughter!” The Fiddler of Dooney "When we come at the end of time, to Peter sitting in state" Page decoration “I bring for you, aglint with dew, a little lovely dream” The Donkey "With monstrous head and sickening cry and ears like errant wings" Page decoration Sea Fever "All I ask is a windy day with the white clouds flying" Page decoration Page decoration A Ballad of the Captains “… drumming up the channel, haling prizes in their wake” A Ballad of the Captains “With a dead Hidalgo’s daughter as a dower for the day” Arabia “Demi-silked dark-haired musicians” Page decoration Page decoration The Song of the Mad Prince “All time’s delight hath she for narrow bed” The Shepperdess "She walks - the lady of my delight-a shepperdess of sheep" The Dead “Honour has come back, as a king, to earth” The Great Lover "Out on the wind of time, shining and streaming" The Great Lover "Moist black earthen mould;... and high places: footprints in the dew" Page decoration If I had a Broomstick “If I had a broomstick… over the tops of the chimneys I’d guide it” The Dying Patriot "And the dead robed in red and sea-lilies overhead sway when the long winds blow" The Dying Patriot "I saw them march from Dover, long ago" Star-Talk “How is your trade, Aquarius, this frosty night?” Page decoration Page decoration Overheard on a Saltmarsh "Give me your beads. I desire them. No." Page decoration The Coming Spring "With magic Key…unlocking buds that keep the roses" Alms in Autumn "They'll set the realms of fairyland all dancing with delight" Very Nearly! “All alone, those rocks amid–one night I very nearly did!” All is Spirit and Part of Me “I am born of a thousand storms, and grey with the rushing rains” Black and White “Midst of all was a cold white face”
Harry Clarke's illustrations and page decorations for The Year's at the Spring reverberate, from the playful to the frightening, with the reveries of childhood and religious iconography inherent in turn-of-the-century collections of poetry. The page layout and typography is delightful. These illustrations come from the first edition published in September 1920 by Brentano's (New York). The Year's at the Spring: An Anthology of Recent Poetry was compiled by L. D'o. Walters (Lettice D'Oyly Walters), and printed in Great Britain by Turnbull & Spears, Edinburgh. Click the link to see the illustrations in their original context, at archive dot org. For your enjoyment and study, I've included every one of Harry Clarke's full page illustrations and page decorations. The table of contents pages and list of illustrations are particularly beautiful, incorporating the decorations cropped for this post. I first copied and worked with the images from this scanned version at archive dot org, where I found the dust jacket. I was unsatisfied with the quality of the images, because the original source material was yellowed and dull and the scans were in soft focus; so I was happy to recently find the better set of pages, which prompted me to start the project all over. The images are in the order they appear in the book. Every named illustration is a full page, and the titles come from the list of illustrations. Page decorations range in size from small to a quarter page. Captions come from the text below each full page illustration. If you click on each image, you will be rewarded with exceptional detail. My favorite color illustrations are A Ballad of the Captains, Arabia, The Song of the Mad Prince, and The Dead. My favorite black and white illustrations and page decorations are numerous, including all of the front matter illustrations, The Fiddler of Dooney, Star-Talk, To The Coming Spring, and Very Nearly! I love the helmeted woman. She reminds me of the antique clothing buttons I collect. Read more about Harry Clarke here and here. See many more of Harry Clarke's illustrations at Will Schofield’s 50 Watts. The Year's at the Spring ~ 1920 ~ Dust Jacket Illustrated by Harry Clarke The Year's at the Spring ~ 1920 ~ Harry Clarke Front Matter ~ Title Illustration The Year's at the Spring ~ 1920 ~ Harry Clarke Frontispiece The Lake Isle of Innisfree "And I shall have some peace there, for peace comes dropping slow" The Year's at the Spring ~ 1920 ~ Harry Clarke Title Page The Year's at the Spring ~ 1920 ~ Harry Clarke Title Page Illustration The Year's at the Spring ~ 1920 ~ Harry Clarke Introduction Page Illustration The Year's at the Spring ~ 1920 ~ Harry Clarke Front Matter ~ Untitled Illustration The Year's at the Spring ~ 1920 ~ Harry Clarke Acknowledgment Page Illustration The Year's at the Spring ~ 1920 ~ Harry Clarke Acknowledgment End Page Illustration The Year's at the Spring ~ 1920 ~ Harry Clarke Contents Page Illustration The Year's at the Spring ~ 1920 ~ Harry Clarke List of Illustrations Illustration The Year's at the Spring ~ 1920 ~ Harry Clarke List of Illustrations End Page Illustration The Year's at the Spring ~ 1920 ~ Harry Clarke April "April, April, laugh thy girlish laughter!" The Year's at the Spring ~ 1920 ~ Harry Clarke The Fiddler of Dooney "When we come at the end of time, to Peter sitting in state" The Year's at the Spring ~ 1920 ~ Harry Clarke Page Decoration The Year's at the Spring ~ 1920 ~ Harry Clarke Cradle-Song "I bring for you, aglint with dew, a little lovely dream" The Year's at the Spring ~ 1920 ~ Harry Clarke The Donkey "With monstrous head and sickening cry and ears like errant wings" The Year's at the Spring ~ 1920 ~ Harry Clarke Page Decoration The Year's at the Spring ~ 1920 ~ Harry Clarke Sea Fever "All I ask is a windy day with the white clouds flying" The Year's at the Spring ~ 1920 ~ Harry Clarke Page Decoration The Year's at the Spring ~ 1920 ~ Harry Clarke Page Decoration The Year's at the Spring ~ 1920 ~ Harry Clarke A Ballad of the Captains "... drumming up the channel, haling prizes in their wake" The Year's at the Spring ~ 1920 ~ Harry Clarke A Ballad of the Captains "With a dead Hidalgo's daughter as a dower for the dey" The Year's at the Spring ~ 1920 ~ Harry Clarke Arabia "Demi-silked dark-haired musicians" The Year's at the Spring ~ 1920 ~ Harry Clarke Page Decoration The Year's at the Spring ~ 1920 ~ Harry Clarke Page Decoration The Year's at the Spring ~ 1920 ~ Harry Clarke The Song of the Mad Prince "'All time's delight hath she for narrow bed'" The Year's at the Spring ~ 1920 ~ Harry Clarke The Shepperdess "She walks - the lady of my delight- a shepperdess of sheep" The Year's at the Spring ~ 1920 ~ Harry Clarke The Dead "Honour has come back, as a king, to earth" The Year's at the Spring ~ 1920 ~ Harry Clarke The Great Lover "Out on the wind of time, shining and streaming" The Year's at the Spring ~ 1920 ~ Harry Clarke The Great Lover "Moist black earthen mould;... and high places; footprints in the dew" The Year's at the Spring ~ 1920 ~ Harry Clarke Page Decoration The Year's at the Spring ~ 1920 ~ Harry Clarke If I Had a Broomstick "If I had a broomstick" The Year's at the Spring ~ 1920 ~ Harry Clarke Page Decoration ~ 2nd Use The Year's at the Spring ~ 1920 ~ Harry Clarke The Dying Patriot "And the dead robed in red and sea-lilies overhead sway when the long winds blow" The Year's at the Spring ~ 1920 ~ Harry Clarke The Dying Patriot "I saw them march from Dover, long ago" The Year's at the Spring ~ 1920 ~ Harry Clarke Star-Talk "How is your trade, Aquarius, this frosty night?" The Year's at the Spring ~ 1920 ~ Harry Clarke Page Decoration The Year's at the Spring ~ 1920 ~ Harry Clarke Page Decoration The Year's at the Spring ~ 1920 ~ Harry Clarke Overheard on a Saltmarsh "Give me your beads. I desire them. No." The Year's at the Spring ~ 1920 ~ Harry Clarke Page Decoration The Year's at the Spring ~ 1920 ~ Harry Clarke Page Decoration The Year's at the Spring ~ 1920 ~ Harry Clarke To The Coming Spring "With magic key... unlocking buds that keep the roses" The Year's at the Spring ~ 1920 ~ Harry Clarke Alms in Autumn "They'll set the realms of fairyland all dancing with delight" The Year's at the Spring ~ 1920 ~ Harry Clarke Very Nearly! "All alone, those rocks amid-- one night I very nearly did!" The Year's at the Spring ~ 1920 ~ Harry Clarke All is Spirit and Part of Me "I am born of a thousand storms, and grey with the rushing rains" The Year's at the Spring ~ 1920 ~ Harry Clarke Black and White "Midst of all was a cold white face" Return to Top
TRAITORS champion Harry Clark hits the town with his former contestants after celebrating his huge £95,000 win. But his ‘best pal’ Mollie Pearce, who made it to the final with him, was …
Blown away by the mesmerising illustrations by Irish illustrator Harry Clarke, here are a selection of his work for Edgar Allen Poe and various fairytale compilations...do you recognise the Little Mermaid, Cinderella of the Emperor with his new clothes?
Tamburlaine illustrated by Harry Clarke.
The Traitors star Harry Clark has turn into embroiled in a dishonest scandal after his TV presenter girlfriend was allegedly untrue to him by kissing a
Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration. The son of a craftsman (Joshua Clarke), Harry Clarke was exposed to art (and in particular Art Nouveau) at an early age. He went to school at Belvedere College, and by his late teens was studying stained glass at the Dublin Art School. While there, his The Consecration of St Mel, Bishop of Longford, by St Patrick won the gold medal for stained glass work in the 1910 Board of Education National Competition. After completing his education, Clarke moved to London to seek work as an artist. He won commissions to work on illustrations for new editions of Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” and Alexander Pope’s “The Rape of the Lock,” but completed neither of them. As it turned out, his first completed work was illustrating Hans Christian Andersen’s Fairy Tales (1916). Clarke’s next endeavour was a series of illustrations for an edition of Edgar Allan Poe’s “ Tales of Mystery and Imagination” (1916). This work sealed his reputation as a skilled illustrator, and was followed by editions of “The Years at the Spring” (1920), containing twelve colour plates and more than fourteen monotone images, Charles Perrault’s “Fairy Tales of Perrault” (1922), and Goethe’s “Faust” (1927), containing eight colour plates and more than seventy monotone and duotone images. The last of these is considered his masterwork – and largely prefigures the disturbing yet colourful imagery of 1960s psychedelia. Clarke’s timing could not have been more perfect, as he was working as an illustrator just as the golden-age of gift-book illustration was taking off (in the first quarter of the twentieth century). His work can be compared to other masters of the craft such as Arthur Rackham, Kay Nielsen and Virginia Frances Sterrett. Two of his most sought-after titles include promotional booklets for Jameson Irish Whiskey: “A History of a Great House” (1924) and “Elixir of Life” (1925), which was written by Geoffrey Warren. Clarke’s final book was the “Selected Poems of Algernon by Charles Swinburne,” published in 1928. During the 1920s, he also directed much of his attention at stained glass, producing more than 130 windows. Alongside his brother Walter, Clarke took over their father’s artist studio. (Their father had died in 1921). His glass is distinguished by the finesse of its drawing, unusual in the medium, his use of rich colours (inspired by an early visit to see the stained glass of the Cathedral of Chartres, he was especially fond of deep blues), and an innovative integration of the window leading as part of the overall design (his use of heavy lines in his black and white book illustrations is probably derived from his glass techniques). Clarke’s best-known stained-glass works are the windows of the Honan Chapel in University College Cork, the windows of Bewley’s Café on Dublin’s Grafton Street, and the window illustrating John Keats’ The Eve of St. Agnes in the Hugh Lane Municipal Gallery in Dublin Clarke died of tuberculosis on 6th January 1931 (while attempting to convalesce in Switzerland). Ill health had plagued both brothers, and his younger sibling died a year previous. Influenced by both Art Nouveau and Art Deco, Clarke’s illustrations and stained glass work remain highly sought after and appreciated in the present-day. Harry created over 160 stained glass windows for religious and commercial commissions throughout Ireland and England, and as far a field as the USA and Australia. Clarke is known as Ireland's greatest ever stained glass artist. This is part 1 of a 7-part series on the works of Harry Clarke: 1913 "The Dream" from The Rape of Lock by Pope 1913 "The Silver Apples of the Moon, The Golden Apples of the Sun" The Irish Review July 1913 1913 De Profundis ( Oscar Wilde ) watercolour and gouache 57.5 x 25.7 cm 1913 Rime of the Ancient Mariner: 1913 The Rime of the Ancient Mariner 1913 The Rime of the Ancient Mariner Ah! Well a-day! What evil looks had I from old and young! Instead of the cross, the albatross around my neck was hung 1913 The Rime of the Ancient Mariner The souls did from their body fly, — they fled to bliss or woe! And every soul, it passed by me, like the whizz of my cross-bow! 1914 Hibernia calendar design for an insurance company 1914 Mephisto pencil, pen and black ink and watercolour on paper 19 x 15.9 cm 1916 Hans Andersen's Fairy Tales:
Harry Clarke posing as Jesus Christ crucified, in his studio. Illustrations for Edgar Allen Poe’s Maelstrom LA ROSA TRANSCULTURAL CHRISTIAN SYMBOLIST HISTORY 2010
Harry Clarke - Art Gallery of Complete Illustrations from the First Edition of the book The Selected Poems of Charles Swinburne, published in 1928.
Irish artist Harry Clarke’s illustrations for a 1919 collection of Edgar Allan Poe stories. More illustration
“Part of that power which would do evil constantly and constantly does good.”
Artist Harry Clarke was born in Dublin, Ireland, on 17th March 1889. He was a leading artist of the Irish Arts and Crafts Movement, as well as the Golden Age of Illustration. The son of a craftsman (Joshua Clarke), Harry Clarke was exposed to art (and in particular Art Nouveau) at an early age. He went to school at Belvedere College, and by his late teens was studying stained glass at the Dublin Art School. While there, his The Consecration of St Mel, Bishop of Longford, by St Patrick won the gold medal for stained glass work in the 1910 Board of Education National Competition. After completing his education, Clarke moved to London to seek work as an artist. He won commissions to work on illustrations for new editions of Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” and Alexander Pope’s “The Rape of the Lock,” but completed neither of them. As it turned out, his first completed work was illustrating Hans Christian Andersen’s Fairy Tales (1916). Clarke’s next endeavour was a series of illustrations for an edition of Edgar Allan Poe’s “ Tales of Mystery and Imagination” (1916). This work sealed his reputation as a skilled illustrator, and was followed by editions of “The Years at the Spring” (1920), containing twelve colour plates and more than fourteen monotone images, Charles Perrault’s “Fairy Tales of Perrault” (1922), and Goethe’s “Faust” (1927), containing eight colour plates and more than seventy monotone and duotone images. The last of these is considered his masterwork – and largely prefigures the disturbing yet colourful imagery of 1960s psychedelia. Clarke’s timing could not have been more perfect, as he was working as an illustrator just as the golden-age of gift-book illustration was taking off (in the first quarter of the twentieth century). His work can be compared to other masters of the craft such as Arthur Rackham, Kay Nielsen and Virginia Frances Sterrett. Two of his most sought-after titles include promotional booklets for Jameson Irish Whiskey: “A History of a Great House” (1924) and “Elixir of Life” (1925), which was written by Geoffrey Warren. Clarke’s final book was the “Selected Poems of Algernon by Charles Swinburne,” published in 1928. During the 1920s, he also directed much of his attention at stained glass, producing more than 130 windows. Alongside his brother Walter, Clarke took over their father’s artist studio. (Their father had died in 1921). His glass is distinguished by the finesse of its drawing, unusual in the medium, his use of rich colours (inspired by an early visit to see the stained glass of the Cathedral of Chartres, he was especially fond of deep blues), and an innovative integration of the window leading as part of the overall design (his use of heavy lines in his black and white book illustrations is probably derived from his glass techniques). Clarke’s best-known stained-glass works are the windows of the Honan Chapel in University College Cork, the windows of Bewley’s Café on Dublin’s Grafton Street, and the window illustrating John Keats’ The Eve of St. Agnes in the Hugh Lane Municipal Gallery in Dublin Clarke died of tuberculosis on 6th January 1931 (while attempting to convalesce in Switzerland). Ill health had plagued both brothers, and his younger sibling died a year previous. Influenced by both Art Nouveau and Art Deco, Clarke’s illustrations and stained glass work remain highly sought after and appreciated in the present-day. Harry created over 160 stained glass windows for religious and commercial commissions throughout Ireland and England, and as far a field as the USA and Australia. Clarke is known as Ireland's greatest ever stained glass artist. This is part 1 of a 7-part series on the works of Harry Clarke: 1913 "The Dream" from The Rape of Lock by Pope 1913 "The Silver Apples of the Moon, The Golden Apples of the Sun" The Irish Review July 1913 1913 De Profundis ( Oscar Wilde ) watercolour and gouache 57.5 x 25.7 cm 1913 Rime of the Ancient Mariner: 1913 The Rime of the Ancient Mariner 1913 The Rime of the Ancient Mariner Ah! Well a-day! What evil looks had I from old and young! Instead of the cross, the albatross around my neck was hung 1913 The Rime of the Ancient Mariner The souls did from their body fly, — they fled to bliss or woe! And every soul, it passed by me, like the whizz of my cross-bow! 1914 Hibernia calendar design for an insurance company 1914 Mephisto pencil, pen and black ink and watercolour on paper 19 x 15.9 cm 1916 Hans Andersen's Fairy Tales:
Harry Clarke ~ The Year’s at the Spring ~ Arabia ~ 1920 ~ via "Demi-silked dark-haired musicians"
Harry Clarke is best known for his religious stained-glass windows. In his short life, he also produced secular stained glass, book illustrations and graphic design. Now a new book, Harry Clarke and Artistic Visions of the New Irish State, takes a closer look at some of his key works and uncovers the complex and at times problematic relationship between the artist and the new Irish state.
Harry Clarke - Art Gallery of Complete Illustrations from the First Edition of the book Faust, by Goethe published in 1925.
