In the summer of 1864, Alice Liddell (Lewis Carroll’s inspiration for Alice in Wonderland) and her two sisters, Lorina (who inspired the Lory) and Edith (who inspired the Eaglet), posed for up to 10 hours a day while the distinguished English artist, Sir William Blake Richmond, created one of his most famous paintings, called The Sisters. The painting of the three Liddell sisters set against the background of the Great Orme, Llandudno’s famous mountain, is one of the highlights of the Tate Liverpool’s Alice in Wonderland exhibition. Sir William Blake Richmond painted the portraits of the most prominent people of the day. The Sisters, well received by the art critics of the day, was regarded by Richmond as a milestone in his career. Sir William had this to say about Alice Liddell:
“Little Alice, to whose pretty face and lovely coloring no reproduction can do justice, is seen on the right in profile, peering at the big volume on her sister’s lap.” [continue reading...]
Star-studded photo from the White House 2009 Halloween Party
Mad Tea Parties and politics are in the news again, but this time thrown by the Democrats. President Obama’s 2009 Alice in Wonderland-themed “star-studded” Halloween party is central stage in a mini-scandal, coming to light because of details in a new book called “The Obamas” by Jodi Kantor of the New York Times. Rush Limbaugh and other right-wing criticizers of the President are claiming the party was secret and extravagant. The White House has responded that the party was for military families and not at all secret. From the Huffington Post article “Limbaugh: Media Helping Obamas Cover Up Secrets“:
“The Obamas,” by New York Times reporter Jodi Kantor, has already prompted a fierce response from the White House to its stories of infighting between Michelle Obama and her husband’s staff. But the media has latched onto another story in the book. Kantor alleges that the White House deliberately downplayed a lavish, Tim Burton-designed Halloween party held in 2009 so as not to appear out of touch with economically struggling voters.
Though they did not mention the details of the party in official briefings at the time, the White House has pushed back on this story as well, saying that the news of the party was mentioned in a Tennessee paper and on a Johnny Depp fan website.
Kantor writes (via the NY Post) that Burton made up the room “in his signature creepy-comic style… He had turned the room into the Mad Hatter’s tea party, with a long table set with antique-looking linens, enormous stuffed animals in chairs, and tiered serving plates with treats like bone-shaped meringue cookies… Fruit punch was served in blood vials at the bar. Burton’s own Mad Hatter, the actor Johnny Depp, presided over the scene in full costume, standing up on a table to welcome everyone in character.”
George Lucas, the book says, sent over the original Chewbacca costume for the occasion. Kantor also writes that the President and First Lady’s daughters, Malia and Sasha, and their friends were entertained with a magic show in the East Room.
Local children and military families were also invited.
A couple of years after the first publication of Alice’s Adventures in Wonderland, the recently established Aunt Judy’s Magazine printed two new stories by Lewis Carroll: “Fairy Sylvie” and “Bruno’s Revenge.” Several years later, Carroll decided to use these as the basis for a novel, and in 1889 he was hard at work finalizing the first volume, Sylvie and Bruno, for publication.
Carroll enjoyed drawing throughout his life and he has been lauded as “the most outstanding photographer of children in the nineteenth century,” but he always turned to professional artists when it came to illustrating his children’s books.
The caricaturist Harry Furniss, who also illustrated the works of Dickens and Thackeray, worked for several years with Carroll on Sylvie and Bruno, and their collaboration is richly documented in a series of letters from Carroll to Furniss. Their correspondence discusses in detail the composition and illustration of the story, and Carroll has filled his letters with sketches to guide the artist.
Carroll hoped to see the first volume published by Christmas 1889, and in a letter (shown above) from September of that year, Carroll notes that “the case looks almost hopeless” because seven chapters still need to be illustrated. He then goes on to describe in detail a number of illustrations that he wants Furniss to try. To depict The Mad Gardener’s Song in chapter 12, Carroll asks him to show an Albatross turning into a postage stamp. He then acknowledges, “I’m aware it’s an almost impossible subject! But don’t you think there is a certain zest in trying impossibilities?”