Showing posts with label Chase. Show all posts
Showing posts with label Chase. Show all posts

Saturday, March 12, 2011

Hard to find Sidney Chase






Sidney Chase (1877-1957) is a lesser known Brandywine Alumni. I first found Chase's work combing through century old issues of Scribner's Magazine, and then found his name again, while reading about N. C. Wyeth.

Chase was originally from Massachusetts, near Boston. While attending the Eric Pape School of Art, around 1900, he met a few fellow students that would rise to the challenges of being accepted as students of Howard Pyle—Among them was N. C. Wyeth— with whom he wrote to regularly over the years.

Most of the information I was able to find on Chase, is due to his friendship with Wyeth. As Wyeth struggled to find his place somewhere between the art museum and the illustration assignment, he had less and less respect for his fellow classmates who embraced illustration without reserve. Very few of them earned his regard. Sidney Chase was one of the few that Wyeth maintained some degree of respect and friendship for.

Looking over this set of pieces done for an article in a 1908 issue of Scribner's Magazine , it is easy to see that the work deserves some amount of respect either way. This kind of coastal Maine life was a favorite subject of Chase's— and would come to be one of Wyeth's as well- around 1920 Wyeth and Chase split the cost of a house in Maine, where both would go for years in the future to find inspiration for painting.

Chase went on to achieve fair commercial success, getting work from the larger magazines of the day, sometimes (as with this story on Maine fishing) as author-illustrator. Like Wyeth, he later turned away from illustration, looking to find a deeper meaning and satisfaction in painting. Chase did mostly watercolor work later in his career.

At the end of his life in 1957, Chase had left wishes that his remaining work be destroyed, wishes that for the most part were complied with. It makes the sight of his illustrations that much more of a rare treat.

Tuesday, January 4, 2011

The Virtues of Gray?






This post is a question that has recently been tossed about in my editorial head.

A great deal of work in the Golden Age of illustration was published as halftone (or grayscale) art. For every nice color plate I find for a new Dover publication, or to post here on VIEW, I find three that were printed in various tones of gray.

My question is— Does that work hold any value and or interest to this audience today? I'm not speaking about the general public, I mean people who are fans of illustration for whatever reason, and who are usually the ones who throw down a few bucks for a Dover collection of Golden Age images? If you've been tempted to comment in the past but haven't, or even if you have, THIS IS YOUR WEEK. Throw me some comments, let me know, it could—no, will—affect the selection and layout of my next book to be submitted....

SO—To help the discussion, or at least what I hope will be one, I've picked a few pieces of grayscale art that I have found worth looking at more than once. I don't want to influence your comments on this, so I'll just give you the facts, and you tell me, does this material merit some study, would you pass it up, or is it as worthwhile as a similar color plate?

This first piece picks up on the last entry- The Prospector is an N. C. Wyeth piece from a McClure's Magazine, 1906.
Wyeth's teacher follows, that's Howard Pyle with Blackbeard's last fight, Century Magazine, 1894.
Sydney M. Chase is weighing the fish from Scribner's, June, 1908.
Fourth is Woldemar Fredirich, with a scene of "The Wild Huntsman" from The Illustrator, 1895.
and last is George Wright, with the firefighting scene, Scribner's, 1902.

Let me know if this kind of imagery is welcome in a book you might buy today, and why. Comments encouraged.