Truth in the Bright Light of Day

Monday, April 30, 2012

Master Copy #6

Edward Hopper after Lord Leighton

In the 1882 Academy appeared two of the most popular of Sir Frederic's pictures, Wedded and Day Dreams. …Still more famous is Wedded,—"one of the happiest of Sir Frederic's designs," said a critic at the time, "and as a composition of lines, difficult, subtle, and original, may be called one of the most remarkable productions of this decade."

Edward Hopper (1882-1967) Couple (Study After a Painting) Ink and graphite on paper, 11 1/4" x 6 1/2" Provenance: The artist (until 1967) to his widow, Jo Hopper (until 1968); Estate of Jo Hopper; Private Collection, New York

Lord Frederic Leighton (1830–1896) Wedded, 1882, oil on canvas, 145.4 x 81.3cm

When standing with me before Leighton's picture "Wedded" in the studio Robert Browning exclaimed, "I find a poetry in that man's work I can find in no other." ~ Mrs. Russell Barrington (The Life, Letters and Work of Frederic Leighton)

Saturday, April 28, 2012

Inspired By(?) #5

or: Pyle inspired by de Neuville?

The Attack upon the Chew House, 1898 - Howard Pyle 1912-92

Two days after Howard Pyle died, muralist Edwin Howland Blashfield eulogized him in a letter to their mutual friend, architect Cass Gilbert:

Nov 11 1911

Dear Mr Gilbert

I was shocked to hear of Howard Pyle’s death and very very sorry too for I think he had before him years of work and I believe that his European trip would have put even more of interest into his beautiful talent. His canvas in the State Capitol of Minnesota is the finest battle-piece I’ve ever seen except that of the Bourget by De Neuville (which latter depends largely on its episodical quality).

His death is a very great loss

Yours

Edwin H Blashfield

I wish I had known him better

[The letter comes from the Cass Gilbert Papers, Manuscript Division, Library of Congress.]

Le Bourget, 30 octobre 1870, 1873 - Alphonse Marie de Neuville (1835-1885)

For more on the Pyle ~ http://howardpyle.blogspot.com/2012/04/i-hope-sometime-for-you-to-see-original.html

Thursday, April 26, 2012

Edmund J. Sullivan

from a 1950 American Artist magazine: 'Illustration Q & A' with Robert Fawcett

Q: "I have often wondered if your work at the Slade School of London and under Edmund Sullivan was of value to you as an illustrator."

A: Fawcett replied, "At Slade, academic and searching drawing was so insisted upon that draftsmanship became second nature. I did nothing but draw from the model eight hours a day for two years. This experience created a backlog to which I constantly refer even now. I may disagree with some of the preceps laid down, but I will never regret the Spartan grind we went through then."

E. J. Sullivan [Edmund J. Sullivan, Edmund Joseph Sullivan] (1869-1933)

Illustrator, teacher, author; The Art of Illustration, 1921 and LINE: An Art Study, 1922

"A drawing rightly begun starts with the points and

lines of the most vital significance; so that no matter

how little time may be given to it, or what interruption

may prevent its carrying to the intended conclusion,

nothing can rob it of this vitality, arising from the artist's

energy of mind as well as from the character of the object.

Something of value is put there from the very start;

whereas if the attack is indirect, and the work be interrupted

from any cause whatever, there may be nothing

left behind but the pathetic evidence of a vague frustrated

intention to draw something. Failure, in short." ~ Edmund J. Sullivan

Grateful Dead poster featuring appropriated art

Monday, April 16, 2012

R.F. • Hiram Walker ('51 ~ '53)

Robert FAWCETT (1903-1967)

Hiram Walker's Cordials

ads 1951 ~ 1953

Three rerun approximately one year after they initially saw print.

1951

1952

1953

Thursday, April 12, 2012

Robert Fawcett • ads #4

Robert FAWCETT (1903-1967)

1942

1946

1949

1950

1951

1965

Sunday, April 8, 2012

Master Copy #5

Robert Fawcett after The Pan Painter

The study of Greek vase paintings is obligatory for the student whose chief interest is line. ~ Robert Fawcett

Artemis shooting an arrow at Aktaion who has fallen to the ground attacked by his hunting dogs. Aktaion was a hunter, and the goddess of the hunt killed him by turning him into a stag, so that his own dogs tore him to pieces. This elegant rendering of the myth, with Artemis drawing her bow for the coup de grace, and the helpless hero sinking beneath the onslaught of the hounds, is considered one of the greatest of all Athenian vase paintings.