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There are lots of great stories about him walking along the beach with his cats following behind him. He loved cats, he loved people, and he loved children. “As well as being a technically brilliant artist, he was a man of almost boundless generosity. “For me, Wain was pretty much a saint,” says Tibet. British cats that do not look and live like Louis Wain cats are ashamed of themselves.” Yet despite Wain’s undisputed genius, his name has slipped almost completely from the public memory.Ĭursed, seemingly, by an endless stream of bad luck, personal misfortune and deteriorating mental health, his death a month before his 80th birthday in July 1939 came after decades of psychiatric problems which had seen him all but forgotten. “He invented a cat style, a cat society, a whole cat world. Others drink tea, play croquet, go to the opera, and, in some of his most striking pictures, even go to war. In Wain’s weird and wonderful world, tabby cats in top hats chomp on cigars and electric blue felines play violins. By portraying cats as lovable bright and human, Wain helped change the way society looked at them.” “They saw cats, at best, as mouse catchers.
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A connoisseur of outsider art, and an artist in his own right with seminal paramusical project Current 93, his fascination with Wain began as a 12-year-old growing up in Malaysia. “The Victorians didn’t really even like cats,” explains David Tibet at his home in Hastings. One of the most successful and prolific artists of the Edwardian era, illustrating more than 200 books and 16 editions of LOUIS WAIN’S ANNUALS, as well as creator of cinema’s first animated feline, PUSSYFOOT, in 1917, Wain’s anthropomorphic cats did more than just delight generations of children. Because all of them owe a debt of cat-itude to Louis Wain. Where the antics of Grumpy Cat are met with a shrug rather than rapt adoration. Where commuters aren’t consoled by the lasagne-guzzling antics of Garfield or young girls by the trials of Hello Kitty. Imagine a world without Felix, Sylvester or Top Cat. Unlike his work titled, The Moon Through a Crumbling Window, where the Daruma is sitting in deep meditation, the Enlightenment of Daruma depicts a monk who has found the answers, surrounded by domestic bliss that he may or may not be attached to.Taken from the document curated by Nick Cave, featured in the A/W18 ‘Romance and Ritual’ issue of Another Man: A symbol of an undisturbed peace, perhaps. The cat seems to represent the home life, a relaxed life. His untitled series, The Enlightenment of Daruma of 1882 shows a Daruma (Bodhidharma or Buddhist Monk) in a domesticated lifestyle a cat resting on his back. During the 1880s and 1890s he focused his efforts on creating triptychs of kabuki scenes. As woodblock printing grew more and more obsolete, Yoshitoshi grew more stubborn, working hardest in his later years. Additionally, Yoshitoshi made a lot of gruesome and violent work that waxed and waned in popularity of the public opinion, his career and mental state suffering as a result. The woodblock industry suffered beneath the threats of new technologies like photography. Torn between the traditional values of the Edo era, and the new intrigue of the Meiji Restoration, Yoshitoshi focused intensely on refining his craftsmanship skills. Yoshitoshi Tsukioka was a master woodblock printer.