DOI Heft:
No. 179 (January, 1912)
DOI Artikel:Hoeber, Arthur: Howard Pyle, N.A., illustrator-painter
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43448#0429
Howard Pyle
Howard pyle, n.a., illustra-
tor-painter
BY ARTHUR HOEBER
Tiie late Howard Pyle was an illus-
trator first, last and all the time, for though he
painted several decorations, with now and then an
easel picture, after all these were in the nature of
glorified illustrations, and with illustration his
name will be ever associated. A fecund worker, a
man of inventiveness and originality, he made a
distinct place for himself in the annals of American
art, a place that gained him a host of admirers and
real friends, who came to look forward to seeing
his work, to recognizing it with affectionate regard
and feeling, as it were, a sort of proprietary inter-
est therein. In a literary way he achieved an un-
usual success, drawing the pictures for his own
tales, a combination that was most happy. From
his earliest efforts he developed a striking person-
ality, with independence of methods that called
immediate attention to him. Despite the changes
of time—he had had almost forty years of art ex-
perience—despite the advent of new methods and
the coming forward of many clever young men, he
held his own surprisingly well, retaining his par-
ticular clientele to the very end. There was a
Copyright, 1887, by Harper & Brothers
DRAWN FOR
“the WONDER clock”
BY HOWARD PYLE
wholesomeness about his work, an earnestness and
a directness that told every time, and in the early
Colonial themes, which he made peculiarly his own,
he was an undisputed authority, for he had read
Copyright, 1888, by Charles Scribner’s Sons
DRAWN FOR
“OTTO OF THE SILVER hand”
BY HOWARD PYLE
BY HOWARD PYLE
Copyright, 1883, by Charles Scribner's Sons
DRAWN FOR “THE MERRY
ADVENTURES OF ROBIN HOOD ”
LXXI
Howard pyle, n.a., illustra-
tor-painter
BY ARTHUR HOEBER
Tiie late Howard Pyle was an illus-
trator first, last and all the time, for though he
painted several decorations, with now and then an
easel picture, after all these were in the nature of
glorified illustrations, and with illustration his
name will be ever associated. A fecund worker, a
man of inventiveness and originality, he made a
distinct place for himself in the annals of American
art, a place that gained him a host of admirers and
real friends, who came to look forward to seeing
his work, to recognizing it with affectionate regard
and feeling, as it were, a sort of proprietary inter-
est therein. In a literary way he achieved an un-
usual success, drawing the pictures for his own
tales, a combination that was most happy. From
his earliest efforts he developed a striking person-
ality, with independence of methods that called
immediate attention to him. Despite the changes
of time—he had had almost forty years of art ex-
perience—despite the advent of new methods and
the coming forward of many clever young men, he
held his own surprisingly well, retaining his par-
ticular clientele to the very end. There was a
Copyright, 1887, by Harper & Brothers
DRAWN FOR
“the WONDER clock”
BY HOWARD PYLE
wholesomeness about his work, an earnestness and
a directness that told every time, and in the early
Colonial themes, which he made peculiarly his own,
he was an undisputed authority, for he had read
Copyright, 1888, by Charles Scribner’s Sons
DRAWN FOR
“OTTO OF THE SILVER hand”
BY HOWARD PYLE
BY HOWARD PYLE
Copyright, 1883, by Charles Scribner's Sons
DRAWN FOR “THE MERRY
ADVENTURES OF ROBIN HOOD ”
LXXI