Drivers and Lampmen

A few weeks ago I posted some images from Century Magazine—some J. C. Leyendecker illustrations that have impressed me for a long while.

As if imagery like that wasn't enough for one issue of a magazine in 1920, there is an amazing pictorial piece that follows it on the next few pages. It's grayscale work, but it is gorgeous drawing, and the subject is very interesting as well.

Thornton Oakley (1881-1955) was one of Howard Pyle's crew. Nineteen years old in that magical year of 1900, he was the right age to join Pyle's school, and the right age to take full advantage of it. Not only did Oakley get a career, but he also found a wife among Pyle's students, whose name may now be more famous than his—Violet Oakley—but we'll look at her work another time.

Thornton Studied with Pyle for three years. (After studying architecture—This combination of skills helped out a few very successful illustrators, including Maxfield Parrish) The work Oakley did afterward often had a real industrial bend to it, and there was lots of work with the War efforts in both World Wars. Shipyards, Railroads, Utilities, and some mural work. A writer/Illustrator, he did work on many of the periods best magazines, and like Pyle, he became a teacher, staying in the Philadelphia area his entire life.

This particular group of images in on rail-yard work. Titled "In The Railway Yard, Pictures by Thornton Oakley." FOUR FULL PAGES of a popular magazine, devoted to nothing other than displaying some beautiful narrative drawings. Can you imagine?

I imagine they were fairly large charcoal drawings. If anyone out there knows anything about them, what became of them, where they are now, please drop a line and let us know. I leave you with this quote—

"Illustration is the highest type of pictorial art ... because illustration is simply a pictorial MAKING CLEAR, and if a picture makes clear a message in a big way, it is an illustration, whether it be made for magazine, book, mural decoration, or exhibition."
Thornton Oakley, 1923

More info on Oakley —
Papers from the Delaware Art Museum, and source of a good deal of this info-

A look at a color Oil Tanker,

Kind of makes me want to draw the old switch Tower at Mineola....

See ya next week.

Jeff

Some scarce Harry Clarke

If the name Harry Clarke (1890-1931) triggers any visual memories for you, it is likely that the images are a bit on the disturbing side. While Clarke did a number of projects in his short career that are worth recalling, there is one that stands head and shoulders among the rest. Clarke did an amazing illustrated edition of Tales of Mystery and Imagination, by Edgar Allan Poe, in 1919. It sold so well that the original publisher released an expanded edition with even more art by Clarke just a few years later. (The top image is from this second run at Poe) It has become the measuring stick against which all other illustrated versions of Poe are measured. It is also Clarke's biggest claim to fame. Not that he didn't do other great work. His primary interest in his creative career was stained glass design, and his work is greatly prized by many locations in his native Ireland where it can still be found today. One look at the large flat areas in his ink work will lead an educated viewer to an understanding of why.

The work of Clarke's that remains largely accessible, however, is his book illustration. Clarke also did a Faust, a Hans Christian Andersen's Tales, and a Fairy Tales of Perrault. Most of these are scarce at best, with only his Poe seeing a reprint edition now and again. Unless you happen to live in the United Kingdom, it is pretty unlikely that you have seen any of his glass design. (*see below) Then I found this article—In a 1920 edition of The Studio—Not a very large text, but it did offer a look at three color panels of Clarke's glass work. The color is not great, but I can't pass up a chance to share these-The third and fourth images are from smaller, private glass commissions, and the last is a line drawing from The Playboy of the Western World. (Very last being a close up of the figures on top—just look at that patterning!) The oval piece is especially nice. Alas, like Poe himself, (and eerily, so many other brilliant creatives) Clarke would not live long into his 40's, dying of tuberculosis in 1931.

Find a bit more here-
http://www.bpib.com/illustrat/clarke.htm

The only authoritative work on Clarke-
http://www.irishacademicusa.com/acatalog/info_IAP025.html

* And keep an eye on this!-
http://www.harryclarke.net/glass/

Back soon-

Jeff

Get Your Little People in Line

This week I have a new book that hit the Dover Site. This is a CD-ROM and Book collection; called Imps, Elves, Fairies and Goblins. For those of you unfamiliar with what exactly this is, I'll give you a short explanation—Dover publishes hundreds of books, that have an accompanying CD in the inside back cover. These "CD-ROM- Books" contain royalty-free images, everything from vintage fruit crate labels, to Victorian fashion photography, to, well, Imps, Elves, Fairies and Goblins. An average disc might contain 200 or more images, for use on whatever you can think of. The book gives you easy reference, and the disc gives you the convenience of having a digital file without having to scan the clip-art. Most of the work in this line of books comes from the public-domain, meaning that original copyrights have expired, leaving these images free to whoever wants to reproduce them.

The V I E W interest in this title is that the images in Imps, Elves, Fairies and Goblins are all from books from as early as Daniel Maclise's pieces, probably from the 1850's, and on through children's stories, folk, and fairy tales for the next half century and then some. This collection is all black and white line work, but there are some great drawings and characterizations here that may lead you elsewhere. Here are a few of my favorites:

Reginald (1879-1950)and Horace Knowles- from their edition of Norse Fairy Tales, 1910
H. J. Ford (1860-1940) -He did so much terrific line work—this scene is jammed with great characters—that goblin on the turtle looks as if it could have come straight from a modern fantasy role-playing book—
Walter Crane (1845-1915)-The animation of these figures and the clever design of this chapter head are a real statement to the depth this artist had to offer, far different from the often static scenes he is known for. From his adaptation of Grimm.
Laurence Housman, (1865-1959)— I cannot put my finger on what makes this guys work so compelling- something about the flow of his compositions—really outstanding stuff. It has been documented that he gave up illustration due to failing eyesight, understandable when you study his line work... These works are from his rendition of Rossetti's Goblin Market, which Dover published for years, though sadly, no more.

.....
In illustration today-
I wanted to comment that though I look deep into illustration's past here, I am an active and practicing illustrator currently— and thought I would share this with others of similar situation-
longtime friend and fellow illustrator Jeremy McHugh and his buddies at http://ninjamountain.blogspot.com/ have put together an informative and entertaining podcast on the trials and tribulations of the profession today- with special regard to the fantasy and sci-fi markets, they cover everything from references to techniques; dealing with contracts, and book reviews. It has become weekly listening both in studio and on occaisional commutes.

See ya next week. Jeff

The Man and the Myth

Most of what fills this blog are comments on book illustration. It is the form of illustration that I'm the closest to— both by virtue of the books that I compile, and the illustration I do myself. There are tons of great illustrators out there, that did very little (if anything) for the book market—for many reasons. Book work does not pay the best. In books, you have to produce a large body of work—it is a bigger commitment. Magazines are faster, usually pay a bit more, and it's normally 1-3 pieces. Advertising is king in regards to a paycheck. Do a job for a corporate client or ad agency, those jobs can really pay some bills.

One of the best known advertising illustrators of the early 20th century was J. C. Leyendecker (1874-1951). J. C., or Joe, was the older of two brothers—Frank was also a fairly successful illustrator. The brothers Leyendecker were born in Germany, raised and apprenticed in Chicago, studied in Paris, and became a huge stars in New York. (Again, that magic date...where was he in 1900? Moving from Chicago to NY, 26 years old, a year after painting his first Saturday Evening Post cover...)

J. C.'s major contributions—Preceding Norman Rockwell, he was the leading illustrator of the Saturday Evening Post (321 Covers!) and his ability to produce a smart, strong, male image led more than one clothier to his studio door. The product that his art would carry and sell for decades was the Arrow Shirt collar. (Top image, Arrow Collar ad, 1912) Advertising clients like Arrow made Leyendecker a wealthy man, and he went through money as fast as it came in.

Both brothers painted in a similar style, having some tell-tale features that separate a Leyendecker work from others. STRONG brush strokes. Lines often look chiseled; sculpted, almost. Beautiful directional qualities. Contour of the primary figure is the most important design element. Keeps the statement strong and simple, and that attention to profile makes the image communicate efficiently.

While doing research for a project, I came across a box of clipped illustrations, mostly from Century Magazine. In the bottom of this pile, I found three Leyendecker pages—far less commercial than what I had known him for. Two were from an article (Written by Teddy Roosevelt, no less) on the Ancient Irish Sagas (January, 1907 issue). The pieces depict Cuchulain in Battle, and Queen Meave, both leading figures in Celtic mythology. The Cuchulain piece has always captivated me- great details, while getting in real close, showing the chariot, with only a hint of the horse. The other image is Old Testament— also from Century, it is for a poem called The Death of Eve, by William Vaughn Moody. This depiction of Eve—and son Cain—is unlike any I have ever seen, with the low mist making the figures feel like giants. A big step from an Arrow shirt. I have to wonder if J. C. enjoyed such imaginative diversions from his bigger, commercial clientele. I certainly appreciate them.

Jim Vadeboncoeur's bio of JCL at Bud Plant
American Art's great Leyendecker page

Back soon


Jeff