DOI Heft:
No. 159 (June, 1906)
DOI Artikel:Irvine, J. H.: Professor von Herkomer on Maxfield Parrish's book illustrations
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20715#0056
Max-field Parrish's Book Illustrations
' - :,,”cfvaHon on page 31
J30UK x --
(see illustration on page 39) found its way into
the hands of Professor Hubert von Herkomer, who
was so struck with the drawing that he immediately
sent for a copy of the book. Its arrival aroused
his enthusiasm to such a pitch as to call forth
the following appreciation of the work of the
illustrator, showing clearly that in his opinion a
..- new star had appeared above the artistic horizon.
discovery ” of an original worker Dy “ Mr. Parrish,” wrote the professor to Mr. Lane,
art World ^reac^ holds an assured position in the “ has absorbed, yet purified, every modern oddity,
who„ n. IS even Rss fluent occurrence; and and added to it his own strong original identity.
”"tnnwn inspires so great an He has combined the photographic vision with
— t? onhaelite feeling. He is poetic without
clause
PROFESSOR VON HERR
ON maxfield PARR1
BOOK ILLUSTRATIONS.
J. H. IRVINE.
The full and enthusiastic appreciation H
artist of the work of another is an occ ^
sufficiently rare to attract some measure o
tion; the “discovery” of an onfinathe
j -.
of even less frequent occurrence; anu — --
-- ~rk of the unknown inspires so great an He has com me t e p & ^ noetic without
enthusiasm in ,he breast of his more fortunate the pre-Raphaelite feeling. H P
.— - T“2 “ve suggestiveness^ without
--~ cancf
^uuiusiasm in tne uicaai v* — " , .
brother as to lead to a spontaneous and u”SOU“
testimony to its originality and artistic va ue,
event partakes of the nature of a phe^°me ’
nigro simillima cygno. The work of r.
field Parrish, and his entry
into the domain of illus-
trators, all unheralded as
it was by blast of trumpets
or by rolling of logs, seems
to have escaped the atten-
tion of that many-headed
Cerberus who guards the
path to public fame, and
who, by a quaint paradox,
often assures a future for
his victim by the very com-
pleteness with which he
rends him limb from limb.
The literary work of Mr.
Kenneth Grahame has been
judged and approved by
some of those among his
literary brethren best quali-
fied for the task, and by
these critics passing men-
tion has been made of the
illustrations which appear
in his volumes, but neither
artist nor art-critic has yet
arisen to hail in the person
of that illustrator a new and
living force in the world of
art. But this work, though
unsung, was not to remain
unhonoured by all his
fellow-workers.
b-.w _ _ laudlin, and nas Lli^
of humour. He can give suggestiveness without
loss of unflinching detail. He has a strong sense
of romance. He has a great sense of charac-
cmjw-wuihctb.
Shortly after the publica-
tion of “The Golden Age,”
a leaflet which contained
a reproduction of the
frontispiece to that volume
“THE VILLA CHIGI, ROME”
(From a Coloured Illustration to Edith Wharton
“ r‘~7vuias and their Gardens'")
by maxfield
PARRISH
35
' - :,,”cfvaHon on page 31
J30UK x --
(see illustration on page 39) found its way into
the hands of Professor Hubert von Herkomer, who
was so struck with the drawing that he immediately
sent for a copy of the book. Its arrival aroused
his enthusiasm to such a pitch as to call forth
the following appreciation of the work of the
illustrator, showing clearly that in his opinion a
..- new star had appeared above the artistic horizon.
discovery ” of an original worker Dy “ Mr. Parrish,” wrote the professor to Mr. Lane,
art World ^reac^ holds an assured position in the “ has absorbed, yet purified, every modern oddity,
who„ n. IS even Rss fluent occurrence; and and added to it his own strong original identity.
”"tnnwn inspires so great an He has combined the photographic vision with
— t? onhaelite feeling. He is poetic without
clause
PROFESSOR VON HERR
ON maxfield PARR1
BOOK ILLUSTRATIONS.
J. H. IRVINE.
The full and enthusiastic appreciation H
artist of the work of another is an occ ^
sufficiently rare to attract some measure o
tion; the “discovery” of an onfinathe
j -.
of even less frequent occurrence; anu — --
-- ~rk of the unknown inspires so great an He has com me t e p & ^ noetic without
enthusiasm in ,he breast of his more fortunate the pre-Raphaelite feeling. H P
.— - T“2 “ve suggestiveness^ without
--~ cancf
^uuiusiasm in tne uicaai v* — " , .
brother as to lead to a spontaneous and u”SOU“
testimony to its originality and artistic va ue,
event partakes of the nature of a phe^°me ’
nigro simillima cygno. The work of r.
field Parrish, and his entry
into the domain of illus-
trators, all unheralded as
it was by blast of trumpets
or by rolling of logs, seems
to have escaped the atten-
tion of that many-headed
Cerberus who guards the
path to public fame, and
who, by a quaint paradox,
often assures a future for
his victim by the very com-
pleteness with which he
rends him limb from limb.
The literary work of Mr.
Kenneth Grahame has been
judged and approved by
some of those among his
literary brethren best quali-
fied for the task, and by
these critics passing men-
tion has been made of the
illustrations which appear
in his volumes, but neither
artist nor art-critic has yet
arisen to hail in the person
of that illustrator a new and
living force in the world of
art. But this work, though
unsung, was not to remain
unhonoured by all his
fellow-workers.
b-.w _ _ laudlin, and nas Lli^
of humour. He can give suggestiveness without
loss of unflinching detail. He has a strong sense
of romance. He has a great sense of charac-
cmjw-wuihctb.
Shortly after the publica-
tion of “The Golden Age,”
a leaflet which contained
a reproduction of the
frontispiece to that volume
“THE VILLA CHIGI, ROME”
(From a Coloured Illustration to Edith Wharton
“ r‘~7vuias and their Gardens'")
by maxfield
PARRISH
35