Art of Sherlock Holmes

Phil Growick

Description

Artists and authors in this edition from Italy, Poland, UK, USA, Finland, Portugal, Oman, Belgium, Switzerland, Sweden, Egypt, Austria and Morocco. The Art of Sherlock Holmes Global Edition 2 is truly unique. While there have been literally hundreds of Holmes pastiches written (even a few of mine), before our four volumes, The Art of Sherlock Homes-West Palm Beach, USA and Global 1 and 2, there had never been volumes where Holmes short stories were interpreted by such accomplished artists. In this second Global edition, thirteen world-class artists have each had a story assigned to them - specifically dependent on the particular talent of each artist. Whether the interpretations be from the forms of surrealist, contemporary, realist, digital, minimalist, symbolism, or an amalgam of various forms, each piece of art created is unique, hypnotic, mesmerizing and unforgettable. Each created specifically to express the essence of each incredible Holmes story. The thirteen stories herein range from the impossibly baffling (except for Holmes) to the humorous, paranormal, or simply intellectually intricate. You're presented with murder, theft, treason, betrayal, love, loss and greed. All the ingredients to make delicious Holmes meals of mystery. But please remember, art is in the eye of the beholder. So, we hope you'll appreciate each creation for what it is: an inimitable interpretation of a truly unique Holmes story. And for those of you who get lost in abstract art, our abstract artists have provided an explanation of what their art means in relation to the story they've interpreted.

Informations

• Publié par: Andrews UK
• Date de parution: 05 novembre 2020
• Nombre de lectures: 1
• EAN13: 9781787056046
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

The Art of Sherlock Holmes
Global Edition 2
Phil Growick




First published in 2020 by
MX Publishing
335 Princess Park Manor
Royal Drive, London, N11 3GX
www.mxpublishing.com
Digital edition converted and distributed by
Andrews UK Limited
www.andrewsuk.com
Author contributions are copyright © 2020 Phil Growick. Material contained within this book is copyright © 2020 the following contributors:
Nick Cardillo, Davide Querin, Geri Schear, Natalia Pastustuszenko, William Oxer, Shane Simmons, Gayle Lange Puhl, Diego Perez, Richard K. Tobin, Sampo Kaikkonen, Daniel D. Victor, Alvarenga Marques, Mike Hogan, Ibrahim Gailani, James Moffett, Hildegarde Handsaeme, David Marcum, Leto Lama, Matthew Simmonds, Marc Savior, Tim Gambrell, Rasha Amin, Tony Reynolds, Jolanda Richter, Shane Simmonds, Abdelaziz Haounati
The rights of the above contributors have been asserted in accordance with the Copyright, Designs and Patents Act 1988.
All rights reserved. No reproduction, copy or transmission of this publication may be made without express prior written permission. No paragraph of this publication may be reproduced, copied or transmitted except with express prior written permission or in accordance with the provisions of the Copyright Act 1956 (as amended). Any person who commits any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damage.
This is a work of fiction. Names, characters, businesses, places, events, locales, and incidents are either the products of the author’s imagination or used in a fictitious manner. Any resemblance to actual persons, living or dead, or actual events is purely coincidental.




To artists and the authors who inspire them




And to Maiju, always Maiju



Introduction
The Art of Sherlock Holmes-Global Edition 2 is the incredible sequel to Global Edition 1.
While there have been literally hundreds of Holmes pastiches written (even a few of mine), there never had been a global volume where Holmes short stories were interpreted by some of the most accomplished artists in the world.
In this second global edition, thirteen noted, international artists have each had a story assigned to them – specifically dependent on the particular talent of each artist.
Whether the interpretations be from the forms of abstract, contemporary, realist, minimalist, symbolism, or an amalgam of various forms, each piece of art created is unique, hypnotic, mesmerizing and unforgettable. Each created specifically to express the essence of each seemingly insoluble Holmes story.
The thirteen stories herein range from the impossibly baffling (except for Holmes) to the humorous, paranormal, or simply intellectually intricate. You’re presented with murder, theft, treason, betrayal, love, loss and greed. All the ingredients to make a delicious Holmes meal of mystery.
But please remember, art is in the eye of the beholder. So, we hope you’ll appreciate each creation for what it is: an inimitable interpretation of a truly unique Holmes story.
Engage your mind. Engage your eye.
But above all, enjoy.
Phil Growick



The Adventure of the Burning Man
By Nick Cardillo
This story originally appeared in ‘The Feats of Sherlock Holmes’
Nick Cardillo has been a devotee of Sherlock Holmes since the age of six. He is the author of The Feats of Sherlock Holmes and his short stories have also appeared in anthologies from MX Publishing and Belanger Books. Nick is a fan of The Golden Age of Detective Fiction, Hammer Horror, and Doctor Who . He writes film reviews and analyses at www.Sacred-Celluloid.blogspot.com . He is a student at Susquehanna University in Selinsgrove, PA.
Davide Querin was born in Rome in 1962 and, son of art, immediately dedicated himself to painting and arts. In 1986 he graduated in editorial and advertising graphics at the ISIA of Urbino and later he attended the studio of the painter Luigi Quintili, perfecting himself in the use of the oil technique. In 1989 he inaugurated his first personal exhibition, held in Rome at the Catacombe 2000 Art Gallery. The work of Davide Querin bears the mark of his multifaceted creativity and a strong link with Latin American culture in general. In the 90s, in fact, he discovered and deepened the works of many artists such as Thibon de Libian, Quinquela Martin, Carlos Alonzo, Castagnino and Xul Solar from whose works he remained fascinated. Davide Querin for many years, has been working as an editorial illustrator in parallel with his work as a painter. Davide Querin has exhibited his work in France, Italy and the US. He seeks to capture the complex relationship between the conscious and unconscious, composing scenes inhabited by transparent figures that represent the overlap of space and time. His paintings invite contemplation and imagination and allow each viewer to find stories in every room, face and time. He made his works available on the set of various TV movies, including “Primo cittadino” with Tullio Solenghi and “L’una e l’altra” with Christopher Lambert. In October 2009, with a painting solo inaugurated in Rome, in Via Veneto, has initiated an interactive relationship with the culture of Latinamerica. On May 2015, his personal exhibition entitled was inaugurated in Rome at the Chiostro del Bramante. In Ferrara, at the Galleria Spazio Aperto, and in Rome, at the Galleria Il Laboratorio, his latest personal exhibitions. http://www.davidequerin.com/
Size: 8.5 x 11
Medium: Oil on Canvas



One morning in the autumn of 1885; a grey, sodden day plagued by a heavy rain, I looked up from my newspaper at the breakfast table to see Sherlock Holmes all but throw his violin onto his chemical workbench. He tossed himself into his chair before the fire and heaved a heavy sigh, casting a forlorn look out the rain-streaked windows. I knew at once what had brought about my friend’s melancholia: since our sojourn to Paris nearly two months earlier (a case I have drawn up for my own reference, but I fear is too ghastly to put before the public), Holmes had complained of a lack of truly challenging cases. The ones which he had dealt with in the past weeks – though completed satisfactorily – had failed to enthrall him and turn the cogs in his brain. And there was little which Sherlock Holmes detested more than the routine.
I tossed the paper down finding it too difficult to deal with Holmes’s foul mood and digest the most recent news from the Mahdist War. The papers were reporting the most recent developments and, though I felt that it was my duty as a former military man to keep myself abreast of the conflict, I was still too haunted by my time in Afghanistan to read much into it. I crossed to my chair and coaxed a cigarette from its case and settled into my usual seat. Holmes slumped low across from me with his head to his breast looked like a defeated man. I resisted the urge to roll my eyes at Holmes’s frankly petulant behavior. Though I was in awe of Holmes, there were times – especially in the early days of our partnership – that I found him to be intolerable. I daresay that in his black moods, my friend regarded me with a certain degree of derision. Thusly disposed, it became a matter of inveigling him out of his morose disposition, a task which was much easier said than done.
“What you were attempting to play,” said I, emphasizing the cruel way in which Holmes had treated his musical instrument, “I don’t think I’ve heard it before. You are composing?”
“It’s best to do something in order to stave off idleness,” Holmes rebuked. “I fear that I am failing.”
Holmes reached for his pipe and began to fill it with tobacco from the Persian slipper. The forceful manner in which he did so once more betrayed his palpable frustration with his current position. Applying a match, Holmes sat back in his chair, attempting to lose himself in the thin rings of smoke which curled about his gaunt head, but instead he turned to me and said:
“It is no mean feat to discern that you are frustrated with the recent developments concerning the conflict in Africa.”
“You refer, no doubt, to that newspaper article I was reading this morning?”
“Precisely,” Holmes replied. “You seemed, despite the regular glances in my direction as I tried to occupy myself with the violin, to be furrowing your brow as you read. Only moments ago you tossed the thing down entirely. Are the developments bad ones?”
“I cannot say with certainty,” I replied. “Though I may have appeared to have been concentrating on it, I really have not had the heart to engage much with the reports. My constitution is still suffering from the strain of the Afghan campaign. Further reading on British colonialism in Africa is too much. It brings back certain memories .”
I need not delve into the horrors which I witnessed as a medical doctor during my time in both India and Afghanistan. Suffice it to say, there were still times – even years after I returned from the East – that I would awake with a cold sweat running down my brow, the things I witnessed still very much engrained in my mind.
“The saying is correct, then,” Sherlock Holmes said drawing me back from my reverie, “‘the sun never sets on the British Empire.’” He drew on his pipe. “Do you, doctor, think it a worthwhile venture?”
I arched an eyebrow, caught off guard by a question which was extremely out of character for my friend to pose to me. I stammered for a moment looking for the best place to begin answering such a complex question, when the bell rang below. Holmes sat upright in his chair, the prospect of a client on our stoop having already banished any interest in holding a discussion on the merits of c