Detail of the cover image for Marly Youman’s Thaliad.
…
The American quilt that was, in part, my inspiration for it…
… together with the Alessio Baldovinetti Portrait of a Lady in Yellow.
Thaliad
Due out later this year from Phoenicia Publishing.
Clive Hicks-Jenkins' Artlog:
views from the artist's studio.
Clive Hicks-Jenkins' Artlog: 
Pingback: marly youmans on the cover for her book | Clive Hicks-Jenkins' Artlog:
I think she’s really neat! I love your bird too which looks ready to fly off to the bird on the quilt that is guarding the nest. I think you must have had a hand in designing the details on that quilt in a previous life! I am overdue a visit to the museum too.
Very striking. I appreciate the “folk” element, it will touch many hearts, but I was drawn to her severe profile. I initially thought of a number of early Renaissance portraits, della Francesca’s double portrait in particular; happily gratified that I wasn’t completely off (-:
It is indeed a fine cover, a synthesis of different source crafted with your very singular vision. The collection of covers you have produced for this poet is indeed handsome. I imagine you are both pleased.
Take care,
LG
You’ve hit the nail on the head with the ‘folk’ theme Leonard. Marly’s narrative emphasises skills passed down through generations that can so easily be lost if the thread is broken. As for the ‘portrait’ influence, well you know you’ll never be far off the mark with me if you look to the Renaissance. Always a wonderful resource to plunder! (-;
You imagine rightly! Definitely both pleased… Clivework is now on three of my poetry books and a novel. What fun!
Clive– we will do our best to make sure the book is indeed beautiful to look at, and does justice to this wonderful artwork. I too despaired of what to put on the cover, because the poem covers such a span of time and change. I had hoped you might settle on a portrait of Thalia, but didn’t suggest it — isn’t it odd how things work out? One of the aspects of the illustration I love the most, and was surprised by this morning, were those bright red lips. For me, they connect wth the fruits– for Thalia represents life, and growth: sustenance received and sustenance given — but she also grows from girl to woman. Clive, it’s perfect, thank you so very much!
Beth, thank you for your lovely words. I came a little late to this project, without the luxury of months to repeatedly read and thoroughly absorb the text. But Marly and I have been in each others heads for quite a while now, and that speeds things up marvellously when needs must. It’s a big relief to me that poet and publisher are content with what I’ve produced here, and I’m glad to be a part of such a good team.
she’s lovely, those lips are gorgeous!
Really beautiful and very eye-catching, folksy and a bit unsettling at the same time. I think your Marly collaborations get better and better.
It needed to have an element of the unsettling, Lucy, or it wouldn’t have honoured the astounding experience awaiting would-be readers of Thaliad. For about half a day after I’d finished reading the text for the first time, I despaired of what I might put on the cover. But when the ideas started flowing, it was as though the poem had announced very clearly what would be right for it, and I just complied.
You never mentioned that half a day to me! And I love the sources–how interesting that you went to an American quilt, too (thinking of how my multi-hobbied husband has hand-stitched quilts, and we have a lot of quilt books.)
It was the narrative that floored me. I wondered how on earth I would do justice to the breadth of it. Boiling down such a text to a single image is always going to be a daunting task, and my notes were jammed with possibilities to be explored. But time was short, and I didn’t have the luxury of venturing down alleyways that might end up being blind. It all worked out in the end. Sometimes speed helps us grow wings!
Just wrote a bit about your Thalia plus our family and quilts (so appropriate!) and also why she’s such a snug fit with the poem… http://thepalaceat2.blogspot.com/2012/06/thalia-shows-her-face.html
Really enjoyed seeing this piece come together and the different elements that have gone into the inspiration. It’s definitely got a fresh, folk art feel, lovely, can’t wait till I can get my hands on the finished book
Well I hope the book is going to be beautiful to look at, but I can absolutely promise you that it’s a wonderful read.
It looks wonderful Clive, and I love that American quilt too!
Chloe, I thought that quilt might catch your eye. It’s described as a ‘Bird-of-Paradise bride’s coverlet’ and has been dated 1858 – 63 from the newspapers that the appliqué patterns were cut from. But despite the loveliness of the coverlet, there’s sadness in it too, because its maker never completed her work. There’s no backing to it, neither has it been quilted. Presumably the marriage for which it was intended never took place, and we can only guess at the train of events that led to such a ravishing piece of work being set aside, never to be finished or used. You can see a photograph of the entire quilt HERE. I think you’ll particularly like the galloping horses that decorate the border.
Oh yes that is sad 😦 Thank you for the full size image, I do indeed love the horses! It’s lovely, it reminds me a bit of Kantha quilts, not in the way it is made but the arrangement of creatures and leaves etc.
Funnily enough, we have a Kantha quilt on our bed, the gift of a friend and complete with elephant and peacock. A beautiful thing.