DOI Heft:
Nr. 334 (March 1925)
DOI Artikel:Weitenkampf, Frank: "Illustrated by Darley"
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19984#0189
inCSRnAClODAL
StTOE©
an illustration from irving s knickerbocker history. wood engraving
duced several series of outline drawings, beginning his mass in outline, without the necessity of curb-
with the Indian sketches of 1843 and developing ing his hand to detailed indication of shadows,
rapidly into the sure dominance of the plates for Darley has his lesson for illustrators in his
Irving's Rip Van Winkle (1848) and Legend of devotion to his job, his acceptance of its limits
Sleepy Hollow (1848) and Judd's Margaret (1856). and utilization of its possibilities. His manner of
In these three he invited comparison with Moritz doing the thing, his peculiar talent, the easy flow
Retzsch, master of outline. He showed much of of his line, the swing of his composition, these are
the grace of that German artist, and vigor of matters of an individual natural equipment which
characterization to which the other one does not may be admired, may inspire, but should not be
quite attain. This apparent contradiction to the copied. The last is ever true of studying past
statement that Darley worked in masses rather models, and assimilating, not imitating, what is
than in line simply means that here he expressed good in them.
march 1925
jour forty-nine
StTOE©
an illustration from irving s knickerbocker history. wood engraving
duced several series of outline drawings, beginning his mass in outline, without the necessity of curb-
with the Indian sketches of 1843 and developing ing his hand to detailed indication of shadows,
rapidly into the sure dominance of the plates for Darley has his lesson for illustrators in his
Irving's Rip Van Winkle (1848) and Legend of devotion to his job, his acceptance of its limits
Sleepy Hollow (1848) and Judd's Margaret (1856). and utilization of its possibilities. His manner of
In these three he invited comparison with Moritz doing the thing, his peculiar talent, the easy flow
Retzsch, master of outline. He showed much of of his line, the swing of his composition, these are
the grace of that German artist, and vigor of matters of an individual natural equipment which
characterization to which the other one does not may be admired, may inspire, but should not be
quite attain. This apparent contradiction to the copied. The last is ever true of studying past
statement that Darley worked in masses rather models, and assimilating, not imitating, what is
than in line simply means that here he expressed good in them.
march 1925
jour forty-nine