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Updated: May 17, 2025
'We shall say to him, or rather we shall get our publisher to say to him, that as he's interested in the matter, and knows the East End well, he has been selected shall we put it on somebody's recommendation? to accompany the artist, and to supply the reading matter, the letter-press I think you call it; in fact, to write up to our illustrator's pictures; and that he is to be decently paid for his trouble.
That, however, reminds me of having read in one of the leading American magazines an account of a noted American illustrator's trip into the woods of Quebec. While there he presented a red handkerchief to an Indian girl. The fact that she snatched it from him, and then ran away, was to him as he stated a sign that she was willing to comply with any evil intentions he might entertain toward her.
If these definite illustrations of Shakespeare's human figures affront us, how much worse is it when an artist tries his hand at the figures that are superhuman! Imagine an English illustrator's projection of the weird sisters with long grey beards duly growing on their chins, and belike one of them duly holding in her hand a pilot's thumb.
They talked quietly but earnestly, and each time she looked up into his face she saw there a new brightness, something beyond the mere patient acceptance of his hard trial. "Jerry," she said all at once, breaking off in the midst of a discussion of certain phases of the illustrator's art, "you don't know how suddenly rich I feel.
'Twas so easy, by a touch of the pen, to transform ``battle'' into ``bottle''; for ``conquests'' one could substitute a word for which not even Macaulay's school-boy were at a loss; and the result, depicted with rude vigour in his margin, fixed the name of at least one ancient fight on the illustrator's memory.
If construction were not decorative it could never ally itself imaginatively to decoration; and decoration in turn would never be willingly representative if the forms which illustration requires were not decorative in themselves. The illustrator's impulse is to reproduce and describe given objects.
This may be said to be the illustrator's tour de force. We have it illustrated by Mr. Observe how the contrast of black and white is framed in by the gray made up of the sky, the left side of the building, the horse, and the knight. In the drawing by Mr. Notice how the trees are darkest just where they are required to tell most strongly against the white in the centre of the picture.
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