Book Review: The Old Testament of Edmund Dulac

The Old Testament of Edmund Dulac: Bible Scenes and Heroes and Song of Solomon by Albert Seligman
My rating: 5 of 5 stars

If you’ve enjoyed Albert Seligman’s previous collections, you already know what a treat this book will be. If you haven’t read one before, I’m confident you will enjoy this book. While it’s shorter than most of the others, it packs an information-punch while still focusing on the art. Even with less narrative or storytelling, it’s more educational than you might expect.

There’s a handful of paintings that are displayed twice, in a “compare and contrast” exercise. For example, I was admiring the composition and cheery facial expressions in The Infant Moses is found in the Bulrushes by Pharaoh’s Daughter, and on the following page I was presented with another version of the same piece. That version had been reproduced in 1926, using higher quality ink and paper. It was dramatically better.

There are surprises around every corner in this collection. The Scarlet Woman of Babylon is recognizable as a Dulac, with his weirdly whimsical, almost oriental monster faces, and a classic Dulac woman’s figure, notably the separated small breasts. But I was surprised by the lack of color. It’s all done in ivory and grey tones. In fact, it’s such a departure from what one might expect of Dulac that it’s no surprise to learn that The American Weekly rejected it.

Another surprise was Dulac’s decision to use Cubism in The Walls of Jericho Fall Under the Blast of Joshua’s Horn The tumbling walls scatter about like a child’s Legos. It’s an impressive way to convey the destructive event.

In Ruth Uncovers the Feet of Boaz, I couldn’t help wondering if the nearly-skeletal withered arm of Ruth is a victim of faulty printing. In contrast, her face is intensely realistic, actually more realistic than any other element in the painting. I’d like to learn more about why this is.

We are shown two versions of King Saul and the Witch of Endor, and it’s startling to see how much detail was lost in The America Weekly version. I’m grateful for Albert Seligman and his efforts to preserve and, when possible even restore, what we have left of this irreplicable artwork.

The final piece is an original study drawing of a clothed woman, giving us a glimpse into Dulac’s creative process.

I’ve only touched on a few examples of the artwork in this collection. You have so much more to discover once you’ve added this volume to your personal library.