Two charming Louis Wain cats

Choo Choo via Louis Wain

Some favorite images of my beloved Choo Choo from Top Cat, 

magically melded together with paintings by Louis Wain.

Having said all that. . . (Further thoughts on Louis Wain)

Having said all that about Louis Wain and his genius cat paintings, I have to confess that there is one that truly scares the hell out of me.

It's this one.

Maybe it's the vaguely "cattiform" nature of it - just barely - and the expression, most uncatlike, like some hideous grinning clown from hell with gaping mouth and pinwheel eyes. Or is it something else?

If you look at this painting closely, it's incredible. Each detail is wrought with extreme care. The colours are glorious, the pattern full of motion as the golden sprays splash upwards. Taken as an abstract with no natural reference, it's amazing. It's only when you pull back to look at the whole that it becomes disturbing. 

Had Wain not been chiefly a painter of cats, this might have been seen very differently. But he DID paint cats, and at some point this painting represented - I think - a cat, or was it merely some bizarre "cattiform" fractal a century ahead of its time?

We'll never know, but one thing that REALLY disturbed me was that, not once but twice, I saw this painting displayed on the internet THE WRONG WAY. In one of those godawful cubic sequential things, with this one near "the end" (when he went crazy, which meant his life was, of course, over), this painting was displayed UPSIDE-DOWN. I could not believe what I was seeing, because even with its extreme abstractness, it definitely has the general features of his cats. The ears are the ears, the eyes are the eyes, disturbing or not. The mouth does suggest the fierceness of a cat's wide-open mouth when all the teeth show.  But someone put together a sequence of his work, which was probably not even a sequence at all, with this painting upside-down, like that famous Matisse in the Museum of Modern Art which hung that way for years.


  

                                   Right way.


  

                               Wrong way. I think.

But that wasn't the end of it. Looking for a good example of a print, I found the same painting displayed SIDEWAYS. No, I am not kidding! This was on a site offering pristine Wain prints, and even a few originals. And they let it fall on its ear.

If I ever needed proof that no one understands Wain and his cats, I have it, but it's so sad. Revile him if you will, be afraid or scornful of his "madness" and write him off as a whack job, but for God's sake, please, display his paintings right-side-up. Really, is that so much to ask?

Louis Wain: a cat's a cat

I think I was in my teens when I first encountered the enigmatic, provocative cat paintings of Louis Wain. Throughout his life he was moved to represent his beloved cats in a wide variety of artistic styles, including a highly abstract form which was so original and unknown that it sometimes scared the hell out of people. As is so often the case, fear and ignorance hardened the public's  perception of the artist into a distorted and only partially-true stereotype.

Thus a brilliant and inspired, not to mention significant, contributor to 19th century art was jammed into a box of conventional belief and nailed there, a condition made infinitely worse by constant replication on that mindless Xerox machine of a communications system, the internet. So how much of it is actually true?

When I was about 16, I remember reading  a Time-Life coffee table book called The Mind which was full of (I realize now) ridiculous, stigmatizing untruths about mental disorders. Wain was used as a classic case of "the tragedy of mental illness", with his charming magazine cats slowly and hideously devolving into foul fiends from hell: surely, the authors claimed, a sign that Wain had gone irreversibly "mad".

This "madness" was labelled "schizophrenia", at a time when 90% of the population would define the term as "a split personality". Nobody who wrote about this had the first idea what they were talking about, but all at once Wain's work was cemented in a sort of immutable chronology, with the most representative and realistic cats at the beginning, followed by the whimsically naughty greeting-card-style cats, then those oddball wildly-colored-and-patterned things, and finally, the horrendous, scary, oh-my-we-don't-like-that-one cats trailing along at the end. This was proof positive that not only had Wain gone mad,  his very art had slowly but relentlessly deteriorated from drawing-room respectability into something no decent person would ever want to look at.

There is biographical evidence that Wain WAS sometimes difficult to deal with, even antisocial, and could be "inappropriate" (which in Edwardian times was almost synonymous with being a "madman"), and spent some time in an asylum when his sisters had had enough of his strange ideas and angry acting out. As in too many cases, he landed there in part because his funds had run out and he had nowhere else to go. For as time went on, his charming anthropomorphic cats went out of style, as everything else eventually does. 

Because he was an artist in his soul and not just an illustrator, Wain kept on painting, even while hospitalized - and yes, he DID paint his cats in a tremendous variety of styles, from the most purr-rumbling, paw-kneading, whiskery realism to the most wildly, even disturbingly abstract - but none of these works was ever dated. Thus there is no evidence at all that as his mind supposedly deteriorated, his conventional cats relentlessly and sequentially devolved from whimsical creatures to bizarre psychedelic ones, to (finally) those dreadful Satanic figures that barely resembled cats at all.

Art historians who have actually taken the time to research his life have concluded that Wain was likely not a schizophrenic at all, but may have lived with another condition that was even less understood. We now know much more about autism and Asperger syndrome and the many gradations of it, and are even beginning to unlock its artistic/creative significance. From existing records, it is likely he painted his conventional cats in parallel with the wildly imaginitive, even disturbing-looking cats he became famous for. Yes, he probably DID experience a chronic mental or perhaps social liability that sometimes separated him from his fellow humans. But he never once gave up on his beloved cats, portraying them in every conceivable manner, with a few that were so startlingly original that no one knew what to make of them. They just didn't fit anywhere. Happens sometimes with these artist types, as with that other fellow. . . you know, the "madman" who painted all those sunflowers.

The little arrangement I give you here is NOT in any kind of chronology. Nor is it completely random. These cats are here because I like them. The more extreme ones aren't here, not because I dislike them but because they're already getting enough (if not too much) play on websites called Psychedelic Cats! and Wain's Schizo Cats. Each inevitably includes a rectangular diagram cut into squares, with each cube representing a stage of successive deterioration rather than a phase of inspiration. I even found a few paintings with labels like "early stages". Obviously, Wain's originality was a sign of sickness. We are still poking the madman with sharp sticks.

Anyway, as I sigh in my usual  exasperation at what a lot of ignorant lunkheads human beings are, I found this snippet on an art site, and it clarified things a little bit for me. 

"Dr. Michael Fitzgerald disputes the claim of schizophrenia, indicating Wain more than likely had Asperger syndrome (AS). Of particular note, Fitzgerald indicates that while Wain’s art takes on a more abstract nature as he grew older, his technique and skill as a painter did not diminish as one would expect from a schizophrenic. Moreover, elements of visual agnosia are demonstrated in his painting, a key element in some cases of AS. If Wain had visual agnosia, it may have manifested itself merely as an extreme attention to detail.

A series of five of his paintings is commonly used as an example in psychology textbooks to putatively show the change in his style as his psychological condition deteriorated. However, it is not known if these works were created in the order usually presented, as Wain did not date them. Rodney Dale, author of Louis Wain: The Man Who Drew Cats, has criticised the belief that the five paintings can be used as an example of Wain’s deteriorating mental health, writing: “Wain experimented with patterns and cats, and even quite late in life was still producing conventional cat pictures, perhaps 10 years after his [supposedly] ‘later’ productions which are patterns rather than cats.”

H. G. Wells said of him, “He has made the cat his own. He invented a cat style, a cat society, a whole cat world. English cats that do not look and live like Louis Wain cats are ashamed of themselves.”

His work is now highly collectible but care is needed as forgeries are common."

What I'm thinking of doing

Is it OK to pick up the violin again after more than ten years, because your doctor said you needed finger exercises for your arthritic left hand?

What would happen if opened that box?

When I put that thing away, it was the time my whole life changed.

My whole life. Everything. The box of my brain, and everything that was in it.

If I open that box again, after more than ten years, will my brain still be there?

Will my fingers still know how to play?

What if Louis Wain painted. . . Choo Choo?

Animated cats!

Monty Python it ain't, but these crude animations of mine, my very first attempt, are perhaps inspired by the Edwardian cutouts of Terry Gilliam. A dear friend of mine gave me a book called A Catland Companion, years and years ago, and it sat on the shelf for ages. THEN came the power blackout on New Years Day that killed our internet connection for over a week (which, by the way, is the sole reason I haven't been posting).

So.

No TV.

No internet.

No nothing.

I started looking for something to do, and rediscovered Catland. Hmmmm.

Could I - maybe - make something out of this?

I've been using a gif program to make little slide shows to post here (maybe you've noticed) - and I noticed they kept using the word "animated". Animated!  Animation is what I've wanted to do all my life! But having absolutely no talent in visual art - drawing or painting or anything else - I was sort of stuck.

But not TOO stuck, because I rediscovered Catland and its oddball denizens. I discovered they could be moved around and photoshopped in all sorts of interesting ways. I could not put them through the gif program, of course, so I was going on faith that they would look like anything. But these cats just jump off the page, don't they? And I hardly had to do anything with this little row of dancers, just bounce them up and down and reverse the image. In fact, it's the best one I did, and I did practically nothing.

Is it the Gilliam effect, I wonder, that caused me to make these cats do such violence to each other? Cartoon violence, of course, with no bloodshed, just a few mashed heads. These guys kind of jump around a lot. I was experimenting here, and ended up with considerable jerkiness. Gilliam's stuff doesn't move smoothly at all (does it?), yet he makes it work. Damn.

These two adorable kittens started out so promising, but ended up looking so strange, as if they're weightless or something. To compensate for the floatiness, I made the animation go a bit too fast, so they jump around each other. I wanted a hopping effect - almost a leapfrogging, and got two highly caffeinated kittens. I think this was the first serious one I did. I learned from this that I cannot do the required 24 frames per second that Disney required when animating Snow White. The main technical problem with these is that when I was making the frames, I had no way at all of knowing whether the animation was working or would look right or convey motion without jarring jerkiness. 

I did try.

This is a Louis Wain cat, and it shows. I suppose he'd turn over in his grave if he knew about this, but if people can animate Hieronymus Bosch, then I can make a Wain cat leer like a fiend from hell. It's a short step. Actually, this is one of my favorites, along with the kick-line of kittens. I may play with this one some more and make more expressions, repetitions or whatever. It seems too short.

I held out the most hope for this one, and was partially successful. It took me the longest. The original drawing looked like this, and it was all I had to work with:

This is a nice example of anthro - anthropo - whatever, making the cat look human, but not TOO human. Those ain't ballerina legs and feet, folks - they're animal, but in a weirdly human position. So what can I do here? I had to detach arms and legs and twist them around and try to get them back on again. It was hard. It was also necessary to remove the shadows on the floor so I wouldn't have to keep reproducing them consistently. I just don't have the equipment to do that. But it sort of came out all right. I kept tweaking the frames, and I guess I could tweak them some more.

But I'm waiting for the next blackout.