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Updated: June 6, 2025
J. Carroll Beckwith, a member of the Art Commission of the city of New York; Mr. Louis Loeb, of the Society of Illustrators; Mr. Frank C. Jones, delegate to the Fine Arts Federation from the National Academy of Design; Mr. Grosvenor Atterbury, of the Architectural League of New York, and Mr.
We are all familiar with the sort of magazine that contents itself with saying day in and day out ceaselessly and noisily: "The Planet Magazine is the greatest magazine in the universe. The greatest literary artists and the world's greatest illustrators contribute to our pages." And it stops there. It has repeated this claim so often that it has come to believe it.
I thought of the padded lives of some of our literary charlatans and editorial gold bricks at home, of the clever young artists ruined as painters by becoming popular illustrators, the young writers content to substitute overpaid banality and bathos for honest work, and I must confess that the sight of this indomitable old fighter, who had known great men and held high place in his day, and now at eighty-three got up before daylight to pound out in longhand his columns of vivid prose, stirred every drop of what you might call one's intellectual sporting blood.
His work has a "weight" in this book which was common to the best illustration of the period, a deliberation which shows the influence of Durer over the illustrators of the sixties, and also the influence of pre-Raphaelitism in precise elaboration of form.
Alexander Berkman has survived the Pennsylvania Inferno, and is back again in the ranks of the militant Anarchists, his spirit unbroken, his soul full of enthusiasm for the ideals of his youth. The artist comrade is now among the well-known illustrators of New York.
I am here concerned with the social illustrators alone, and, besides, only with those who have made the sketches of social subjects in Punch the principal business of their lives.
It is only an educated public that will allow an illustrator the spontaneous style of drawing that some of the wittiest French illustrators indulge in. In England the demand for what is wrongly inferred to be good draughtsmanship has quenched spontaneity in illustration.
The deputies were so ashamed of their work that they doomed the recorder of their infamous deed to share the punishment of their sovereign. We have few instances of the illustrators of books sharing the misfortunes of authors and publishers, but we have met with one such example.
The very absence of school in his illustrations is their chief charm; a man of genius this, self-taught, and a dangerous precedent for fumblers or those of less executive ability. From the huge mass of his work being unearthed from year to year he may be said to have lived crayon in hand. He is the first of a long line of newspaper illustrators.
In 1876, in illustrations to Hurlock Chase, or Among the Sussex Ironworks, by George E. Sargent, published by The Religious Tract Society, we have some pictures of extraordinary power, in which it is to be seen how much his contact with Millais and other great illustrators in the sixties inspired him, and developed his resources.
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