International studio (59.1916)

Line Drawings of Charles E. Brock, R.I.

The line drawings of
CHARLES E. BROCK, R.I.
It is a curious feature of book illustration
as ordained by publishers at the present time that
the classic works of fiction can be divided into two
categories—those which anyone may illustrate,
and those which are the guarded preserve of the
privileged few. The explanation is quite simple.
There are certain books which have established so
permanent and indefeasible a claim upon the
public that a new edition of any of them is almost
certain to sell, if not immediately, at all events in
time. These are the volumes—“Robinson Crusoe,”
“ Grimm’s Tales,” “ The Arabian Nights ” may
be cited as obvious examples—which the book-
seller groups conveniently upon a shelf labelled
“Juveniles.” A new public arises for
them not merely with every generation
but with every half or quarter generation
—almost annually, indeed. The demand
in consequence never ceases, though
it may fluctuate, and with yet one more
edition, though it be but indifferently
illustrated, the publisher has always an
excellent chance of “getting home,” if
not of scoring a positive success.
On the other hand there are classic
works—and one is thinking, naturally,
of English classics more particularly—
the illustration of which seems resolutely
denied to all but a favoured few. These
are books which are bought to be read,
and the standard which the would-be
illustrator of them must satisfy is not
only more exacting but different. There
is no question here of the a.uthor
being a mere excuse for the illustrator.
Thackeray, Dickens, Scott, Jane Austen
furnish few pretexts to irresponsible
artists for a display of private cleverness.
Qualities are required which do not lie
within every artist’s scope. Perception
and a power of sympathetic imagination
are not enough; there must be loyalty
too—a faithful adherence to the spirit
as well as the letter of the author’s text,
and a willingness to submit to the
restraint which that discipline imposes.
Knowledge and experience not only of
the technicalities of the illustrator’s craft,
but of men and things, are needed
(it goes without saying) also.
There has arisen, however, in recent

years, a school of English illustrators well equipped
to fulfil these requirements. Caldecott, of course,
is their father, and very visible is his impress upon
them. But even without the stimulating example
of so wholly admirable a parent, one fancies the
peculiarly English quality of the great Victorian
authors must inevitably have secured from modern
artists an adequate interpretation. That the in-
spiration of stuff so native should elicit no response
is unthinkable.
Of several names which will occur to the reader
as representative of modern English illustrators, it
is quite certain that one of the foremost will be
that of Mr. Charles E. Brock, an artist who has
deservedly enjoyed a full share of opportunities
to show his mettle. Mr. Brock’s activities as an
illustrator extend now over more than a quarter


“THREE GREAT SCHOLARS.” ILLUSTRATION TO “GULLIVER’S
TRAVELS,” BY C. E. BROCK, R.I.
CBy permission of Messrs. Macmillan & Co. Bid.)

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