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#0057
Maxfield Parrishs Book Illustrations
terization without a touch of ugliness. He can
be modern, mediaeval, or classic. He has been
able to infuse into the most uncompromising
realism the decorative element—an extraordinary
feat in itself. He is throughout an excellent
draughtsman, and his finish is phenomenal. Alto-
gether this original artist is the strangest mixture I
have ever met with. This man should paint, and
not lose himself for the art world by merely doing
illustrations. He will do much to reconcile the
extreme and sober elements of our times.”
The writer of this article was fortunate enough
to have an opportunity of asking Professor von
Herkomer to expand these remarks on the
work of Mr. Parrish. These comments are here
presented, and have a special interest as the
spontaneous and enthusiastically-given appreciation
of the work of an artist with
his future before him by one
who has long secured for him-
self an acknowledged authority
in matters of art.
“ One of the first questions
that must arise in the mind of
any artist, when looking at
these drawings,” said the pro-
fessor, taking up “The Knicker-
bocker History of New York,”
“ is : How is it done ? There
is a granulation suggesting a
chalk drawing, but it is far
firmer and far more sparkling
than would be possible with
that material. They are re-
produced in the manner of
any other facsimile drawing,
by mechanical process, and
therefore every dot is repro-
duced. In their printed state
there is the strongest possible
resemblance to the old stipple
engraving. I strongly suspect
this entire granulated shading
to be the result of sheer
labour.”
The pages of the book were
turned over, until the attention
of the artist was arrested by
the drawing of a blacksmith
on the doorstep of his fireless
smithy. “ Speaking of the
drawing of hands,” he re-
sumed, “ here is an example.
The sunlight crosses that left
36
hand in a way that would have baffled any but the
best draughtsman in copying from nature. Through-
out his illustrations the hands are artistically posed,
nor can I find a single instance in which he has
shirked them. He does not merely suggest them
—he does them. The strong black that comes
behind half the figure brings me to a very peculiar
question in the modern use of black passages in
light-grey drawings. Parrish is so far up to date
that he puts blacks in unexpected places; yet
they always enhance the drawing and emphasise
its decorative quality. Of no other modern
artist known to me can it so truly be said that he
entirely eliminates padding. It almost amounts
to a fault, just as it did in the works of the
pre-Raphaelites. He certainly gives something
that is a very good substitute, and that sorne-
FROM A COLOURED ILLUSTRATION TO BY MAXFIELD PARRISH
EUGENE field’s “POEMS OF CHILDHOOD”
terization without a touch of ugliness. He can
be modern, mediaeval, or classic. He has been
able to infuse into the most uncompromising
realism the decorative element—an extraordinary
feat in itself. He is throughout an excellent
draughtsman, and his finish is phenomenal. Alto-
gether this original artist is the strangest mixture I
have ever met with. This man should paint, and
not lose himself for the art world by merely doing
illustrations. He will do much to reconcile the
extreme and sober elements of our times.”
The writer of this article was fortunate enough
to have an opportunity of asking Professor von
Herkomer to expand these remarks on the
work of Mr. Parrish. These comments are here
presented, and have a special interest as the
spontaneous and enthusiastically-given appreciation
of the work of an artist with
his future before him by one
who has long secured for him-
self an acknowledged authority
in matters of art.
“ One of the first questions
that must arise in the mind of
any artist, when looking at
these drawings,” said the pro-
fessor, taking up “The Knicker-
bocker History of New York,”
“ is : How is it done ? There
is a granulation suggesting a
chalk drawing, but it is far
firmer and far more sparkling
than would be possible with
that material. They are re-
produced in the manner of
any other facsimile drawing,
by mechanical process, and
therefore every dot is repro-
duced. In their printed state
there is the strongest possible
resemblance to the old stipple
engraving. I strongly suspect
this entire granulated shading
to be the result of sheer
labour.”
The pages of the book were
turned over, until the attention
of the artist was arrested by
the drawing of a blacksmith
on the doorstep of his fireless
smithy. “ Speaking of the
drawing of hands,” he re-
sumed, “ here is an example.
The sunlight crosses that left
36
hand in a way that would have baffled any but the
best draughtsman in copying from nature. Through-
out his illustrations the hands are artistically posed,
nor can I find a single instance in which he has
shirked them. He does not merely suggest them
—he does them. The strong black that comes
behind half the figure brings me to a very peculiar
question in the modern use of black passages in
light-grey drawings. Parrish is so far up to date
that he puts blacks in unexpected places; yet
they always enhance the drawing and emphasise
its decorative quality. Of no other modern
artist known to me can it so truly be said that he
entirely eliminates padding. It almost amounts
to a fault, just as it did in the works of the
pre-Raphaelites. He certainly gives something
that is a very good substitute, and that sorne-
FROM A COLOURED ILLUSTRATION TO BY MAXFIELD PARRISH
EUGENE field’s “POEMS OF CHILDHOOD”