DOI Heft:
No. 199 (October, 1909)
DOI Artikel:Dawson, R. A.: An illustrator of Celtic romance: John P. Campbell
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20968#0060
An Illustrator of Celtic Romance: John P. Campbell
"DUN ANGUS IN A RON : ACROSS THE WAVES HE STOLE HER" BY IOHN P. CAMPBELL
tive. Moreover, it may be claimed that they country's ancient art and culture are being deliber-
indicate the coming forward of an illustrator of ately and consciously knit together; the language,
marked individuality and distinction, a compara- literature and customs which once were hers are
tively rare exception of an artist not content to now being widely studied—a fact which will appeal
follow in the wake of his predecessors, however to those who desire to see the maintenance of
skilful their work may have been, and whose in- national characteristics in the productions of any
dependence in thought and practice deserves country.
special consideration. Such artists, by preserving A movement of this kind in art, literature, and
their independence and keeping alive the love of general culture would tend to produce an illus-
invention, have aided artistic progress and have trator such as the one under consideration in full
produced in their fellows a spirit of wholesome sympathy with all its best ideals. Mr. Campbell is
emulation. purely a product of his native island and of the
The signature " Seaghan MacCathmhaoil" is " Ulster Fifth, of blossomful sweet-watered glens."
becoming familiar on illustrations principally of He is a young artist with only a few years' profes-
ancient Celtic romance. The author of these is sional practice, having no experience in other lands,
better known among his friends in his native city no London or Paris training. From the time
of Belfast by the more familiar if less elusive when, as a schoolboy, he was called on to draw
and romantic name of John Patrick Campbell. posters advertising school events, up to the present,
Mr. Campbell might perhaps be called one of it is sheer hard study and some experience in the
the products of the recent literary revival of which local school of art that have produced the powerful
Ireland has been the scene, and in which North individual work we see in his latest productions,
and South have joined hand in hand. For the It would be mere irresponsible optimism to
movement has drawn into its enthusiastic and claim that Mr. Campbell's work has reached any-
energetic circle art, music, craftsmanship, and the thing like the heights to which it may attain, and
drama. The too early broken threads of the he himself would be the last to prefer such a claim.
38
"DUN ANGUS IN A RON : ACROSS THE WAVES HE STOLE HER" BY IOHN P. CAMPBELL
tive. Moreover, it may be claimed that they country's ancient art and culture are being deliber-
indicate the coming forward of an illustrator of ately and consciously knit together; the language,
marked individuality and distinction, a compara- literature and customs which once were hers are
tively rare exception of an artist not content to now being widely studied—a fact which will appeal
follow in the wake of his predecessors, however to those who desire to see the maintenance of
skilful their work may have been, and whose in- national characteristics in the productions of any
dependence in thought and practice deserves country.
special consideration. Such artists, by preserving A movement of this kind in art, literature, and
their independence and keeping alive the love of general culture would tend to produce an illus-
invention, have aided artistic progress and have trator such as the one under consideration in full
produced in their fellows a spirit of wholesome sympathy with all its best ideals. Mr. Campbell is
emulation. purely a product of his native island and of the
The signature " Seaghan MacCathmhaoil" is " Ulster Fifth, of blossomful sweet-watered glens."
becoming familiar on illustrations principally of He is a young artist with only a few years' profes-
ancient Celtic romance. The author of these is sional practice, having no experience in other lands,
better known among his friends in his native city no London or Paris training. From the time
of Belfast by the more familiar if less elusive when, as a schoolboy, he was called on to draw
and romantic name of John Patrick Campbell. posters advertising school events, up to the present,
Mr. Campbell might perhaps be called one of it is sheer hard study and some experience in the
the products of the recent literary revival of which local school of art that have produced the powerful
Ireland has been the scene, and in which North individual work we see in his latest productions,
and South have joined hand in hand. For the It would be mere irresponsible optimism to
movement has drawn into its enthusiastic and claim that Mr. Campbell's work has reached any-
energetic circle art, music, craftsmanship, and the thing like the heights to which it may attain, and
drama. The too early broken threads of the he himself would be the last to prefer such a claim.
38