FC2ブログ

Susan Hyman 『Edward Lear's Birds』

「in the next eggzi stens you and I and My lady may be able to sit for placid hours under a lotus tree a eating of ice creams and pelican pie, with our feet in a hazure coloured stream and with the birds and beasts of Paradise a sporting around us.」
(Edward Lear)


Susan Hyman 
『Edward Lear's Birds』

Introduction by Philip Hofer


Weidenfeld and Nicolson, London, 1980
96pp, 36.2x26.2cm, hardcover (clothbound), dust jacket
Printed and bound in Italy by L.E.G.O., Vicenza



エドワード・リアの鳥類画家としての側面に重点を置いた大判画集/評伝。
カラー図版40点、モノクロ図版55点。



edward lears birds 01



Contents:

Author's Acknowledgments
List of Colour Plates
Introduction by Philip Hofer

Edward Lear's Birds

Chronology
Bibliography
Picture Sources
Index




◆本書より◆


「From Knowsley he wrote to Gould in 1836, 'Hail, Snow, Frost & Desolation . . . I have such a bad cold that I am half blind [and] my eyes are so sadly worse that no bird under an ostrich shall I soon be able to see to do.' He is enthusiastic about his tour, however, adding, 'how *enormously* I have enjoyed the whole Autumn'.」

(1836年にノーズリーからジョン・グールドに宛てて、「雹、雪、霜そして荒寥……ひどい風邪にみまわれて目もほとんど見えず、ダチョウより小さい鳥は見分けられなくなりそうです」と書いているが、旅行自体には乗り気だったらしく、「ひと秋をたっぷり堪能しました」と付け加えている。)

「Age and blindness finally defeated him. Too ill to work, he succumbed to violent depression, his oldest, truest enemy. 'My own life seems to me more and more unsatisfactory and melancholy and dark,' he wrote. 'On the whole I do not know if I am living or dead at times.' His memory failed and his world became peopled with shadows. It was too late to escape to another country; his long years of wandering, his days of 'Lotus-eating', were ended.」

(加齢と盲目がついにリアを打ち負かした。体調が悪くて仕事も手につかず、昔馴染みの敵である鬱に屈服した。「人生はどんどん不調で憂鬱で暗いものになっていく。生きているのか死んでいるのかもわからない」。記憶力も衰え、影に取り巻かれて。違う国へ逃れようとしても手遅れだった。ロートスの実を食べ故郷を忘れる放浪の日々は終わった。)

「Edward Lear died quietly on 29 January 1888 attended by his physician and clergyman. His last words were an expression of gratitude to his friends for their goodness to him. Years before, in a letter to Chichester Fortescue, a companion in his youth and a confidant throughout his life, he had speculated on the possibility of a heaven. Perhaps he remembered the stately park at Knowsley where he had spent the finest days of his youth, or perhaps those felicitous foreign shores for which his Nonsense figures again and again set sail, when he voiced the hope that

in the next eggzi stens you and I and My lady may be able to sit for placid hours under a lotus tree a eating of ice creams and pelican pie, with our feet in a hazure coloured stream and with the birds and beasts of Paradise a sporting around us.」


(エドワード・リアは1888年1月29日に医師と牧師に見守られつつ安らかに死んだ。友人たちへの感謝の言葉を残して。数年前、古くからの朋友チチェスター・フォーテスキューへの手紙で天国の可能性について考えをめぐらせたとき、リアの頭にはノーズリーで過ごした日々のことや、あるいは自作のノンセンス詩の登場人物たちがめざした異国の地のことがあったのかもしれない。
「あの世ではぼくたちは、ロートスの木の下で紺碧のせせらぎに足をひたしつつ、戯れ合う鳥獣にかこまれてアイスクリームやペリカンパイを食べながらおだやかに過ごすことができるだろう」)



edward lears birds 02



edward lears birds 03



edward lears birds 04



edward lears birds 05



edward lears birds 06









こちらもご参照ください:

Robert McCracken Peck 『The Natural History of Edward Lear (1812-1888)』






























スポンサーサイト



Vivien Noakes 『Edward Lear 1812-1888』

「For most of his life Lear lived in rented rooms, moving from place to place. It was not until 1869, when he had given up all hope of achieving critical acclaim and financial stability as a painter, that he decided to settle permanently abroad.」
(Vivien Noakes 『Edward Lear 1812-1888』 より)


Vivien Noakes 
『Edward Lear
1812-1888』

with an introduction by Sir Steven Runciman
and an essay by Jeremy Maas


Royal Academy of Arts, London, 1985
Catalogue published in association with
Weidenfeld and Nicolson, London
216pp, 28x21.5cm, paperback



本書は1985年にロイヤル・アカデミー・オブ・アーツで開催されたエドワード・リア展の図録(ペーパーバック版)です。風景画を中心に博物画、戯画、資料等で構成されていて、リアが絵を教えたヴィクトリア女王がリアの絵を手本に描いた風景画(モノクロ小図版)も掲載されています。ヴィヴィアン・ノークスによる各セクション冒頭の伝記的コメント&リア自身の文章の引用を含む作品解説も充実しています。

カラー図版48頁。掲載図版277点(カラー64点、モノクロ213点)。



edward lear catalogue 01



CONTENTS:

List of Lenders
Acknowledgements
Photographic Acknowledgements
Editorial Note

Foreword (Roger De Grey)
Introduction (Vivien Noakes)
Edward Lear (Sir Steven Runciman)
From the Sublime to the Ridiculous (Jeremy Maas)
Lear on Art

THE PLATES

THE CATALOGUE
 Early Years
 Natural History
 Early Landscape 1834-1848
 Lear's Travels 1848-1888
 Studio Watercolours
 Lear and Tennyson
 Oil Paintings
 Illustrated Travel Books
 Nonsense
 The Pelican
 Later Memorabilia

Chronology
Bibliographies
Index
Royal Academy Trust
Friends of the Royal Academy




◆本書より◆


「Lear on Art」より:

「'No life is more *shocking* to me than sitting motionless like a petrified gorilla as to my body & limbs hour after hour - my hand meanwhile, peck peck pecking at billions of damnable little dots & lines, while my mind is fretting & fuming through every moment of the weary day's work.'
(Fortescue, 29.viii.61, LEL 1907, p. 189)」


(石化したゴリラみたいに微動だにせず何時間も座って――手だけが小っちゃな点々や線をひたすら描き続け、心は苦役の間じゅうふわふわとさまよっている、そんな生活ほど「ぞっとする」ものはない。)

「'Yes - : I certainly *do* hate the act of painting: & although day after day I go steadily on, it is like grinding my nose off.'
(Fortescue, 5.ix.61, LEL 1907, p. 193)」


(然り、絵を描くことほどいやなものはない。来る日も来る日もこつこつと身をすりへらして。)

「'When you & I go to heaven we won't paint any more, but will sit in Chesnut trees & smoke & drink champagne continual.'
(Holman Hunt, n.d. [November 1864], ms., HUntington Library, San Marino)」


(われわれが天国へ行くことになったら、絵なんか描くのはやめて、栗の木に腰かけてひたすら煙草を吸ってシャンペンを飲んでいよう。)



edward lear catalogue 02



edward lear catalogue 03



edward lear catalogue 04



edward lear catalogue 05










こちらもご参照ください:

Vivien Noakes 『Edward Lear: The Life of a Wanderer』 (Revised Edition)
Susan Hyman 『Edward Lear's Birds』
Robert McCracken Peck 『The Natural History of Edward Lear (1812-1888)』
Patricia Allderidge 『The Late Richard Dadd』
















































Vivien Noakes 『Edward Lear: The Life of a Wanderer』 (Revised Edition)

「'Perhaps after all, the less one stays in places one likes the better - & so one escapes some pain,' he wrote in his diary. 'Therefore, wander.'」
(Vivien Noakes 『Edward Lear』 より)


Vivien Noakes 
『Edward Lear:
The Life of a Wanderer』 
Revised Edition



Sutton Publishing, Gloucestershire, 2004
viii, 312pp, 16pp of plates, 24x15.2cm, hardcover, dust jacket

Originally published in the United Kingdom in 1968 by William Collins Sons & Co. Ltd



1968年に初版が刊行されたヴィヴィアン・ノークスによるエドワード・リア伝の増訂版。
丸背紙装上製本、カバー。別丁図版(モノクロ)31点。カット(リアによる戯画)70点。
アマゾンマケプレで「非常に良い」が618円(+送料257円)で売られていたのを注文しておいたのが届いたのでよんでみました。



noakes - edward lear 01



Contents:

Preface

PART ONE: MR LEAR 1812-1848
1.Childhood
2. Ornithologist
3. The Knowsley Menagerie
4. Italy
5. A Queen and a Revolution
6. The Mediterranean
7. Franklin Lushington

PART TWO: SLOPES OF MYRTLE 1849-1869
8. Pre-Raphaelite
9. The Morbids
10. Corfu
11. The Holy Land
12. Rome
13. Landscape Painter
14. Wanderer
15. A Proposal of Marriage?
16. The Greatest Nonsense
17. Last Travel Book

PART THREE: SAN REMO 1869-1888
18. Villa Emily
19. Coast of Coromandel
20. The Cruel Shore
21. Villa Tennyson
22. The End

A Brief Chronological Table of Lear's Travels
Family Trees
Notes to the Text
Notes to Text Illustrations
Bibliography
Acknowledgements
Index




noakes - edward lear 04



◆本書より◆


「Childhood」より:

「When he was about seven, the emotional strain began to show itself in sudden changes of mood with bouts of acute depression, which he called 'the Morbids'. Significantly the first of these came after a rare happy evening with his father. 'The earliest of all the morbidnesses I can recollect must have been somewhere about 1819 - when my Father took me to a field near Highgate, where was a rural performance of gymnastric clowns &C. - & a band. The music was good, - at least it attracted me. - & the sunset & twilight I remember as if yesterday. And I can recollect crying half the night after all the small gaiety broke up - & also suffering for days at the memory of the past scene.' He was a sad, lonely little boy grasping happiness when it came and savouring every bit of it - and broken-hearted when it had slipped beyond his grasp again.
 But even earlier, when he was only five or six, had come the first attack of epilepsy - 'the Demon', as he called it.」
「The illness affected his whole life profoundly. He was fearful that one day an attack might leave him paralysed, or that the repeated assaults would destroy his mind: though he also hoped, until well into middle age, that the disease might loosen its grip as he grew older. It was a constant threat, for sometimes he had several attacks a day. He had warning before they came on - the aura epileptica - so that he was able to get out of the way, and apparently nobody apart from his family ever realised that he was an epileptic. But this perpetual secrecy forced him into isolation.」


(七歳頃から、情緒的ストレスは急性うつ病の症状を伴う突発的な気分の変化(リア自身はそれを「ビョーキ(the Morbids)」と呼んだ)として現れるようになった。最初に現れたのは父親と珍しく楽しい晩を過した後のことで、「1819年頃、父がハイゲイトの近くの野原に連れて行ってくれて、そこで道化師の曲芸とか楽隊とかが地方興行をしていた。音楽に心を魅かれた。夕日と黄昏を昨日のことのように覚えている。お祭り騒ぎが済んでしまうと、夜中まで泣いていた。数日間は過ぎてしまった情景を思い出して切なさに駆られた」。リアはたまに訪れる幸福に飛びついて味わい尽そうとし、それが通り過ぎてしまうと悲嘆に暮れる寂しく孤独な子どもだった。
しかしそれよりも早く、五歳か六歳で、リアは最初の癲癇の発作(リア自身はそれを「アクマ(the Demon)」と呼んだ)に襲われた。
病気がリアの人生に深い影響を及ぼした。いつか発作で頭がおかしくなってしまうか、麻痺状態になってしまうのではないかと恐れた。その一方で、年齢を経れば病状が軽くなるのではないかという希望を後年までずっと抱いていた。一日に数回の発作に見舞われることもあったので、つねに脅威にさらされていた。発作の前兆を感じると身を隠したので、家族以外は彼が癲癇持ちであることに気づかなかった。秘密を守らねばならないという気持がリアに孤立を強いることになった。)


「Italy」より:

「Indeed, as a young man he seems hardly to have considered marriage as a real possibility, partly because he knew that there would be too much risk of unhappiness. He would have to break the secret of his epilepsy, and he might pass the disease on to his children and see his own horror beginning again in another child. Nor could he be sure that his wife would go on loving him - his mother had stopped loving him once and he knew that he could not go through that kind of despair and hurt again. But the alternative - a solitary life of loneliness - held no appreal. 'I shall - if pleases God to give me health - most probably be a successful Landscape=painter - & have a number of friends given to but few in this world: - on the other hand, I am but too certain of living alone throughout life - a fate for which my sensitive mind ill enough prepares me.'」

(若きリアは自分が結婚することなど不可能だと考えていたようだ。結婚すればそれだけ不幸になるリスクを冒すことになる。ひた隠しにしてきた癲癇のことを知られることになるし、自分の子どもに癲癇が遺伝するかもしれない。それに結婚相手が自分を愛し続けてくれるかどうか分ったものではない。母親も自分を愛してくれなくなった。もうそんな絶望と悲痛には耐えられない。だが寂しい孤独な生活も厭だ。「神が健康を与えてくれるなら、僕は風景画家として成功するだろう。ごく僅かながら献身的な友人も得られるだろう。とはいえ結局のところ一生ひとりぼっちで生きることになりそうだ。それは心の折れやすい僕には対応できそうにない。)


「A Queen and a Revolution」より:

「For, despite their incongruity, there is in Lear's characters an honesty that is lacking in the improving literature of the time. Here are grown-ups doing things that grown-ups should never do. They rush and they fall, they eat and drink vastly, wear huge bonnets and wigs, play on crude instrumetns and dance hornpipes and jigs. They are immense and unmannerly, immoderate and strange, unabashed by their eccentricities and excess. ( . . . ) They do not deceive, but share with the children both the folly of their actions and the reality of the human characteristics they display - carelessness, generosity, stupidity, greed. Above all, they are their own masters, ignoring the blandishments of 'They', that constrained, critical mass whom Walter de la Mare called 'perhaps [Lear's] greatest triumph' with 'their unanimity, their cogency, their scorn'.
 Lear was not, of course, the only children's writer of the time who offered his readers an escape from a world of anxiety into one of safety and imagination - nor were all children subjected to these fears - but he was the most influential. In an age when they were too often loaded with shame, he sought to free them. By facing both the good and the bad without criticism, he gave them an opportunity of coming affectionately to terms with themselves and other people, encouraging a good-natured acceptance of oddities and blindness to obvious faults that Erasmus describes as 'the sort of absurdity which is the binding force in society and brings happiness to life'.」


(リアのリメリックの支離滅裂な登場人物たちには、しかし、同時代の文学には欠けている正直さがある。大人がするべきではないことをする大人たちが登場して、突っ走っては転倒し、暴飲暴食し、大きすぎる帽子やかつらを被って悦に入り、粗末な楽器を奏でてめまぐるしい踊りを踊る。法外で無暗矢鱈で滅法界で異様で、奇行や行き過ぎを恥じるそぶりも見せない。自分を偽ることなく、あからさまでまぎれもない個性と愚行を子どもたちの前にさらけだす。軽率さ、気前のよさ、愚かしさ、際限のなさ、何より彼らは自分がしたいことだけをして、ご立派な社会人たちの言うことなど歯牙にもかけない。
当時、不安に満ちた世界からの避難所となるべき想像の世界を子どもたちに与えた文学者はリアだけではなかったし、すべての子どもたちが不安におびえていたわけではなかったが、リアには子どもたちを引きつける力があった。体裁ばかり気にする時代にあって、リアは子どもたちの解放を求めた。善悪をあげつらわないことによって、子どもたちが自分自身や他者との親しい関係を取り戻す機会を与え、風変わりな行動を気さくに受け入れてエラスムスが「社会を束ねる力であり人生に幸いをもたらす愚行」と呼んだあからさまな欠陥を大目に見ることを奨励した。)


「Corfu」より:

「As it was, Lear probably only partly realised his homosexuality, though in the deeper layers of his mind there was conflict as he fought to suppress it, a conflict that contributed to his constant state of restlessness and depression. He was not a philandering homosexual, as some writers have believed him to be. His search was not for physical love but for someone who would want him as a person in the way that his parents had not wanted him as a child. Through his sensibility and charm he was sought after as a friend, and he loved to be with children because they liked him and showed it. But what he was searching for, and never found, was real spiritual involvement with another person.
 Beyond even this was the terrible unhappiness of forty years, the constant epileptic attacks that still came as often as twenty times a month, marked in his diary by sad little crosses and that he now had to accept would never go - and the bewildering memories of his childhood. Usually he could tuck these away into an undisturbed corner of his mind where they were gradually covered by comforting layers of dust, but when a new unhappiness found its way into that corner the dust was suddenly shaken off and the monster of memory was there.
 Today we would say that Lear was on the verge of a nervous breakdown. What he knew was that he was so unhappy he could do nothing. For hours he walked up and down his room with tears streaming down his face. If he tried to sleep, he just lay looking up at the ceiling. Nobody called, nothing happened, and day after day it rained.」


(深層意識における葛藤やそれに起因する恒常的な情緒不安定やうつ状態はあったものの、リアはみずからの同性愛的傾向をはっきりとは認識していなかったようだ。リアの同性愛は肉体的なものではなく、両親に望まれなかった子どもであったことへの補償として自分を望んでくれる人を求めたのであり、友人は多く子どもたちからも好かれたリアが希求しつつも得ることができなかったのは、他者との真に精神的な関わりであった。
その上に月に二十回ものてんかんの発作(リアの日記には小さな×印で記録されている)が四十年も続き治る見込みがないというひどい不幸があり、さらに子ども時代のトラウマ的記憶の数々は心の隅に追いやったつもりでも新しい不幸が起るたびに古いトラウマが呼び起されてしまうのであった。
今のわれわれから見ればリアは神経衰弱すれすれの状態にあったといえるが、リア自身に分っていたのは自分はあまりにも不幸なので何もできない状態にあるということで、滂沱の涙を流しつつ何時間も部屋の中を行ったり来たりし、横になっても眠るに眠れず天井を眺め、誰も来ず、何も起こらず、ただ雨ばかりが降り続くのであった。)


「Landscape Painter」より:

「'Perhaps after all, the less one stays in places one likes the better - & so one escapes some pain,' he wrote in his diary. 'Therefore, wander.'」

(リアの日記によると「結局のところ、その土地に滞在することが短ければ短いだけその土地は好ましいものになり、苦痛も少なくなる。だからこそ人はあてどなくさすらうのだろう」)

「'The Elements,' he wrote in his diary, 'trees, clouds, &c - silence . . . seems to have far more part with me or I with them, than mankind.'」

(リアの日記によると「木々や、雲や、その他のさまざまな自然物、そして沈黙……のほうが僕にとって人類なんかよりはるかに共通するものが多い。」)


「The End」より:

「Though Lear had been dependent on his friends in many ways, his whole life had been a lonely struggle against difficulties that he could share with nobody.」

(友人たちに頼ることも多かったとはいえ、リアの全生涯は誰とも共有できない困りごととの孤独なたたかいであった。)



noakes - edward lear 02



noakes - edward lear 03


不幸な鳥たち(unfortunate birds)に餌やりをするリア。





こちらもご参照ください:

Becks-Malorny 『James Ensor 1860-1949: Masks, Death, and the Sea』
M. Watkinson & P. Anderson 『Crazy Diamond: Syd Barrett & the Dawn of Pink Floyd』
Norton N. Cohen 『Lewis Carroll: A Biography』

































Edward Lear 『Selected Letters』 Edited by Vivien Noakes

「In the morning I feed unfortunate birds.」
(Edward Lear)


Edward Lear 
『Selected Letters』 
Edited by
Vivien Noakes


Clarendon Press/Oxford University Press, 1988
xlii, 325pp, 22.2x14.4cm, hardcover, dust jacket
Printed in Great Britain



エドワード・リア書簡選集。
本書はアマゾンマケプレで586円(+257円)でうられていたのを注文しておいたのが届いたのでよんでみました。


edward lear - selected letters 01


edward lear - selected letters 02


Contents:

Introduction
List of Letters
Chronology
Biographical Register

THE LETTERS

Notes
Index



edward lear - letters 05



◆本書より◆


「To Emily Tennyson
Oatlands Parcotel.|Waltonontems.|Surry.|Jany. 14|1861.」
「My evenings - if no friend be here - are dimmydullydillyduffy. - Partly I translate Thousididdles - & so by very slow degrees attain to Greek nollidge.
 Partly I play on the hinstrument. - partly I drink tea - & rush about the room angrily. - In the morning I feed unfortunate birds.」


(夜は――友だちが来ないときは――うすぼんやりぐずぐずとすごしています。ツキジデスを訳してギリシア語の痴識をのろのろと身につけたり、楽器を演奏したり、お茶をのんだり、腹をたてて部屋の中を暴れまわったり。朝になったら不幸な鳥たちに餌をやります。)


edward lear - letters 03



edward lear - letters 04


「To Nora Decie
April 3. 1864. Corfu.」
「I am going to start tomorrow, having sent my luggage away, & intending myself to go by sea, as it is cheaper than going by the steamer. I therefore join Captn. Deverills 3 geese, & we are going to swim all the way round Cape Matapan & so to the Piræus as fast as we can.」


(明日出発するつもりです、荷物は先に送っておいて、海を泳いでいこうと考えています、汽船で行くより安くつくから。デヴェリル隊長の三羽のガチョウといっしょにマタパン岬沖をおよいで出来るだけはやくピレウスに辿り着くつもりです。)


edward lear - letters 06


「To Chichester Fortescue and Lady Waldegrave
Villa Emily. San Remo.|Xmas Day. 1871」
「My elth is tolerable, but I am 60 next May, & feel growing old. Going up & down stairs worries me, & I think of marrying some domestic henbird & then of building a nest in one of my olive trees, whence I should only descend at remote intervals during the rest of my life.」


(健康状態はそれほどわるくないのですが、五月には六〇になるので歳には勝てません。階段の上り下りもおぼつかないので、めんどりと結婚してオリーブの木に巣を作って、そこからめったに下りずに余生をすごそうと考えています。)


edward lear - letters 00


「To James Fields
Villa Emily. Sanremo. Italy.|15. October 1879.」
「I suppose I shall have to flee away & be heard of no more.」
「So look out for me & my cat some fine day - by a Boston Steamer, on my way to San Francisco.」


(私は逃亡して消息を絶ってしまうべきだろう。いつか晴れた日にサンフランシスコにむかう私と私のネコをボストン汽船から探してみておくれ。)


edward lear - letters 08


edward lear - letters 09


edward lear - selected letters 10


「エドワード・リア 七十三歳半
その愛猫フォス 十六歳」


edward lear - letters 11


     *     *     *     


edward lear - selected letters 13


「To the Hon. Mrs James Stuart-Wortley
Villa Tennyson. Sanremo.|26. Feby. 1882」
「(...) as they were done in the Moon, to which I lately went one night, returning next morning on a Moonbean. (...) I will add some few notes concerning the 2 subjects which I got with great rapidity during my visit, nothing being easier in that wonderful country than to travel thousands of miles in a minute. And these journeys are all done by means of Moonbeans, which, far from being mere portions of light, are in reality living creatures, endowed with considerable sogassity, & a long nose like the trunk of a Nelliphant, though this is quite imperceptible to the naked eye. You have only to whisper to the Moonbean what you wish to see, & you are there in a moment, & its nose or trunk being placed round your body, you cannot by any possibility fall.
 The first view is of the Jizzdoddle rocks, with 2 of the many remarkable planets which surround the moon rising or riz in the distance; these orangecoloured & peagreen orbs leaving a profound impression of sensational surprise on the mind of the speckletator who first beholds them. The second view represents the Rumbytumby ravine, with the crimson planted Buzz and its 5 Satanites on the horizon. In the foreground on the left is a Blompopp tree, so called from the Blompop, a gigantic and gorgeous bird which builds on its summit. To the left are the tall Vizzikilly trees, the most common vegetation of the Lunar hummysphere.」


(これは月で描いた絵です、このあいだの晩に行って次の朝月光に乗って帰ってきました。月光はじつは深い知性と象のような長い鼻をもった生きものなのですが、裸眼では見えません。月光にどこに行きたいかを囁くだけで鼻で巻いて一瞬のうちに連れて行ってくれます。
第一の光景はジズドドルの岩山で、遠景に月をめぐる惑星のうちの二つが昇るようすが見えています。そのオレンジと黄緑の天体は見る者に強い印象を残します。第二の光景はランビータンビー渓谷で、地平線上に深紅の惑星バズとその五つの衛星が見えます。前景左はブロンポップ樹で、巨大で華麗な鳥ブロンポップが梢に巣を作るところからこう呼ばれます。その隣の喬木はヴィジキリー樹で、月のこちら側の半球では最も普通に見られる植物です。)




















































Robert McCracken Peck 『The Natural History of Edward Lear (1812-1888)』

Robert McCracken Peck 
『The Natural History of
Edward Lear (1812-1888)』

with a foreword by David Attenborough

ACC Art Books Ltd., 2016
223p, 25.4x17.7cm, hardcover, dust jacket
Printed in China

First published in 2016 by David R. Godine, Publisher, Inc.



本書はアマゾン(マケプレじゃないほう)でペーパーバック(新品)が2,725円で売られていたので注文しておいたのが届いたのでよんでみました。届いたのはなぜかハードカバーでした。謎です。


peck - the national history of edward lear 01


peck - the national history of edward lear 02


カバーを外してみました。角背上製本、継表紙で背の部分は布装、本体表紙にはリアの愛猫フォスの戯画が金箔押しされています。


Contents:

Foreword by David Attenborough
Introduction

PART I
An Unusual Life - Lear's Childhood and Early Interest in Natural History
Opening the Cages - Lear and the London Zoo
Edward T. Bennett
An Unfinished Publication - Lear's Lost Portfolio
The Zoology of Capt. Beechey's Voyage
Lear and Lithography - Applying Technology to Art
Lear's Parrot Monograph
Bird Depictions Dead and Alive - Ornithological Illustration Before Lear
Barraband's Parrots
Among the Lions - Lear's Place in the Natural History Community of His Day
 John Gould
 Jardine and Selby
 Thomas Bell
A Curious Beast
Lear Down Under - An Unusual Interest in Australia
The Earl and the Pussycat - Lear's Association with Lord Derby
John James Audubon and a Hoped-for Venture to America
Gleanings from Knowsley Hall
An Artist in Motion - Lear as a Traveler
 Instructor to the Queen
 Traveling Father Afield
 Exotic Dress
 The Dangers of Travel
Spoofing Science from the Sidelines - Lear's Nonsense Botany
Lear's Botany - The Serious Side
Conclusion (PART I)

PART II
Timeless Stories for All Ages - Lear's Impact on Children's Books
 Beatrix Potter
 Edward Gorey
 Jan Brett
The Legacy Continues - Two Contemporary Painters of Natural History
 Working in the Lear Tradition
 William Cooper
 Elizabeth Butterworth
Taking Lear in a New Direction
 Walton Ford
 James Prosek
Poetical Topographers - Three Contemporary Travel and Landscape Painters Working in the Lear Tradition
 Tony Foster
 John Doyle
 Philip Hughes
A Political Cartoonist Influenced by Lear
 Nicholas Garland
Conclusion (PART II)

Notes for Part I
Notes for Part II
Appendix
Acknowledgments
List of Illustrations
Selected Bibliography
Index
Colophon



peck - the national history of edward lear 03



◆本書より◆


「PART I」より:

「Aside from a short stint at boarding school at the age of eleven, the young Lear received most of his education from Ann and another sister, Sarah ( . . . ), with whom he was also extremely close. This informal instruction suited Lear's non-conformist personality and, if anything, may have helped to stimulate his creative abilities and inherent curiosity. "I am almost thanking God that I was never educated [at a school]," he wrote when he was forty-seven, "for it seems to me that 999 of those who are so, expensively & laboriously, have lost all before they arrive at my age - & remain like Swift's Stulbruggs - cut & dry for life, making no use of their earlier-gained treasures: - whereas, I seem to be on the threshold of knowledge . . ." It was a threashold he continued to move and expand throughout his long and productive life.」

(11歳の時に寄宿学校にいたのを除けば、リアの教育はほとんど姉アン(21歳年上。リアはこの姉のもとで暮していた)ともうひとりの姉サラによるものだった。こうした型どおりでない教育はリアの性格にも合っていて、創造力と持ち前の好奇心を刺戟した。「学校教育を受けずにすんだことは神に感謝してもいいくらいだ。学校教育を受けていたらお金と労力をかけて全てを失って、今ごろはせっかく持っていた宝も持ち腐れしてスウィフトに出てくるストラルドブラグのような型にはまった老いぼれになっていたことだろう。そうしなかったおかげで、私は今でも向学心に溢れている」と47歳になったリアは書いているが、長く豊穣な人生を通して彼は向学心を培い続けることになる。)

「As so often happens with ambitious projects attempted by the very young, when Lear embarked on his great parrot monograph, his inexperience may have been the secret of his success. His lack of academic training, his unfamiliarity with publishing, and his relative naiveté in the field of scientific illustration had the serendipitous effect of freeing him from the confines of existing traditions. Since his previous experience with commissioned work had been to draw particular tumors and deformities for medical purposes, he naturally applied the same methodology to birds, painting every that he encountered not as a generic "type," as was the norm, but as an individual. ( . . . ) If Lear had been formally trained, or had grown up surrounded by the bird books of the eighteenth and early nineteenth centuries, his unique, uninhibited approach to drawing birds and other natural history subjects might have been stifled.」

(ごく若いうちの野心的な計画というものがしばしばそうであるように、リアのオウム図譜の出版の成功の秘訣は彼の経験の無さにあった。アカデミックな訓練の欠如、出版業への不案内、博物画の世界における無邪気さといったものが幸いして、既成の伝統に封じ込められることから免れた。それ以前に経験した委託仕事が医療用に特定の腫瘍や奇形を描くことだったので、鳥を描くのにもそれと同じ方法論を適用して、当時の規範に従って類型化して描くのではなく対象をその固有性のままに描いた。リアが公式な訓練を受けていたら、あるいは18世紀から19世紀初頭にかけての鳥類学の本に馴染んでいたら、博物画に対するリアの特異で奔放なアプローチは抑圧されてしまったかもしれない。)


peck - the national history of edward lear 04



◆感想◆


本書はタイトルどおり博物画家としてのエドワード・リアに的を絞った本で、第一部ではオウム(インコ)図譜の出版やジョン・グールドその他の博物学者への協力などについて時代背景とともに詳述されています。リアは目が悪かったので目を酷使する博物画は二十代で引退して、その後は風景画家になるのですが、本書では風景画や戯画についても触れられているものの、風景画では細部に描き込まれている陸ガメやラクダやゾウに注目し、戯画では「ノンセンス植物学」を取り上げて考察したりと、一貫して博物学目線です。ハーバード大学ホートン・ライブラリー所蔵の原画も多数掲載されています。
第二部はリアの伝統の後継者たち(リアの詩「フクロウとネコ」等に新しく挿絵を描いた絵本作家たち、リアの影響を受けた現代の博物画家・風景画家・風刺画家たち)の紹介に当てられています。




こちらもご参照ください:

Wikimedia Commons
Illustrations of the Family of Psittacidae, or Parrots (1832) by Edward Lear

Digital Library for the Decorative Arts and Material Culture
Lear, Edward, 1812-1888
Illustrations of the family of Psittacidae, or parrots: the greater part of them species hitherto unfigured, containing forty-two lithographic plates, drawn from life, and on stone
London, England: E. Lear, 1832














































































プロフィール

ひとでなしの猫

Author:ひとでなしの猫
 
うまれたときからひとでなし
なぜならわたしはねこだから
 
◆「樽のなかのディオゲネス」から「ねこぢる」まで◆

Koro-pok-Guru
Away with the Fairies

難破した人々の為に。

分野: パタフィジック。

趣味: 図書館ごっこ。

好物: 鉱物。スカシカシパン。タコノマクラ。

将来の夢: 石ころ。

尊敬する人物: ジョゼフ・メリック、ジョゼフ・コーネル、尾形亀之助、森田童子。

ハンス・アスペルガー・メモリアル・バーベキュー。
歴史における自閉症の役割。

最近の記事
カテゴリー
ブログ内検索
リンク
フリーエリア
netakiri nekotaroの最近読んだ本