Showing posts with label illustrative art. Show all posts
Showing posts with label illustrative art. Show all posts

Friday, February 27, 2015

Arty Farty Friday ~ John Tenniel, Alice & Political Cartooning

 Self-portrait
(Sir)John Tenniel was born in Bayswater, London, England on 28 February in 1820. His father was a dance teacher, the family lived in what has been described by a biographer as "genteel poverty", a state which afforded John a minimum of early formal education. Aided by his father's tuition he learned and polished some athletic skills - fencing, dancing and riding. His fencing practice resulted in an accidental blinding of his right eye. He attended the Royal Academy but soon removed himself, unimpressed by the quality of teaching there. Some of his artwork was exhibited when John was about 16 years old, which led to early recognition of his talent. Commissions began to arrive, a significant one was to create a fresco for the House of Lords (a division of the British Parliament).

In 1850 Tenniel joined the staff of Punch magazine as principal political cartoonist, he held that post for some 50 years. His work drew the attention of Charles Dodgson (aka Lewis Carroll) who approached the artist with a request that he should illustrate a book, Alice's Adventures Under Ground. The book was published, in 1865, as Alice's Adventures in Wonderland, it contained 34 beautifully engraved line drawings, by John Tenniel, and became a classic. Tenniel later provided illustrations for Through the Looking-Glass(1872).

John Tenniel's work as cartoonist was always his natural preference, though his fame to this day, some 145 years later, stems from his "Alice" book illustrations. The reason being, I guess, that his political cartoons were "of that moment", and soon lost much of their relevance. They remain interesting, as pieces of history, though.

John Tenniel died on 25 February 1914.

A few examples of his cartoons, along with some of his best known illustrations.

In an arena formed of cotton bales, President Lincoln (still shown as clean-shaven) and the newly-elected President of the Confederate States, Jefferson Davis, square off as gladiators before an audience comprised of black slaves, one of whom sits in imperial state [cf. April 29, 1865]. The caption’s reference to “Emperor Caesar” may be ironically intended, as Caesar was a popular slave name.

The two combatants are armed with Bowie knives rather than the Roman gladius short swords. Each also has a pistol tucked into his belt, reflecting European perceptions about American violence and lawlessness (in many countries it was illegal for ordinary citizens to carry firearms). Lincoln holds a shield emblazoned with a representation of the national flag of the United States, while Davis’ shield bears the “Stars and Bars” flag. (See HERE)

  Widespread sympathy was felt in Britain for the grief  of the United States after Lincoln's assassination

 Father Neptune: Look here, my lass! You used to "Rule the Waves" but if you mis-rule 'em, as you've done lately, by jingo there'll be a row!!!
Britannia I'm sure I don't know who's to blame Papa dear!
Father Neptune: Don't know !!!  Then pipe all hands and find out!!!





ASTROLOGY

Born in London on 28 February 1820. No time of birth available, chart set for 12 noon.


Sir John Tenniel had a natal Pisces/Aries blend - not as easy-going a blend as Pisces/Aquarius I'd have thought. Creative dreamer blended with enthusiastic initiator. His Aries bits must have felt like a regular alarm bell constantly waking him from dreaminess. In his early years he did train, under his father's tuition, in a variety of athletic activities - this relates well to the Aries flavour in his chart. I haven't read much about the kind of man he was - or was perceived to be. From his artwork we have to assume he had a continuing sharp interest in political matters, and put this to use via his undeniable talent for drawing. His "Alice" book illustrations, though they brought him fame, were not really what he was about. Cartooning and politics seem to have been his first loves.

Sun, Mercury and Jupiter lay in Pisces, sign ruled by Neptune, and reflect his creativity, whether via his drawings of Alice's adventures, or illustrating the vagaries of political life in 19th century Britain and elsewhere.

Natal Saturn (law, authorities etc.) at 0 Aries, degree known as The Aries Point, a powerful degree, might offer a clue to his keen interest in political matters and interpretation of them in satirical fashion. Neptune conjunct Uranus on the Capricorn/Sagittarius cusp, though in itself a generational aspect, because the conjunction lay in helpful sextile to Tenniel's natal Jupiter, which conjoined his Sun/Mercury, adds a touch of the unexpected (Uranus) to this artist's creative (Neptune) gifts.

Without a time of birth Moon's exact position isn't known, other than that it would have been in Leo or Virgo as he was born. I don't have a reasonable guess to offer!

Friday, January 30, 2015

Arty Farty Friday ~ Bill Peet & Patrick Caulfield, born 29 January

Two artists with very different styles were born on 29 January: In 1915, American Bill Peet, famous for his work and tempestuous times with Walt Disney, also for his many illustrated children's story books. Born some 21 years later, in the UK, Patrick Caulfield, whose rather different version of 1960s pop-art won him fame.

Briefly:

Bill Peet (January 29, 1915, Grandview Indiana – May 11, 2002), children's book illustrator, and story writer for Disney Studios, 1937-1964. His artistic talent showed up early; he filled the margins of his school books with sketches, later shone as an art student on scholarship at the Herron Art Institute, Indianapolis. Studies completed, he left the midwest for Hollywood, to seek better job opportunities. He was hired as an “in-betweener” to fill in the interstitial cells between the main scenes, for Walt Disney studio’s production of Snow White and the Seven Dwarves, later, with his talent recognised, he climbed the Disney hierachy and worked on films such as Pinocchio, Fantasia, Dumbo , Song of the South, Cinderella, Alice in Wonderland, Peter Pan, Sleeping Beauty, One Hundred and One Dalmatians, The Sword in the Stone, The Jungle Book, and others. He eventually left the Disney Studios after 27 years, following a particularly bitter argument with Walt Disney (one of many throughout his time there) over the story production of The Jungle Book (See this at Blabbing on Arts and Culture blog). He then focused on writing and illustrating books for children, and now has a long list of much-loved children's books to his credit.

An imaginative and stylish storyteller, he would frequently embed messages within his tales. There's an especially good story which I suspect we might all benefit from reading: The Wump World.

Bill Peet married his schooldays sweetheart, Margaret. There's a sweet website created by the Peets' son HERE.


If a passing reader has around 12 minutes to spare, there's a YouTube reading of The Wump World with all his illustrations.



 From his Dumbo story board

More of Bill Peet's Dumbo sketches at Deja View blog HERE.


 From the 1001 Dalmations story board


 From his book The Whingdingdilly








Over the Atlantic and on a different wavelength altogether was Patrick Caulfied, born in Acton, London on 29 January 1936. He died in 2005. A student at the Royal College of Art, 1960-63 along with David Hockney, he developed a unique style characterised by the use of line and depiction of banal, everyday objects saturated in colour and made strangely important. Few human or animal figures grace his artwork, its focus is interiors: office, restaurant, city, decor - all stylised with clean, simple, minimalist flavour. Reviewers of his artwork have pointed out that, though his paintings appeared simple, this was deceptive and rarely the desired effect. By his own admission there were periods when he sought simplicity and others when he sought complexity. The paintings' unity lay in the power of Caulfield's imagination and wry detachment. Resistance to classification meant that Caulfield's work was not as widely known as that of some of his contemporaries.

He is said to have been
"a keen drinker, arriving at his "morning pub" at opening time for Old Speckled Hen, before moving on to double Irish whiskeys. After lunch and work, he went to the evening pub, before returning home to watch television. Glasses of red wine were a frequent motif in his paintings."

"Caulfield was apt to grin sheepishly when making wolfish remarks, especially when declaring his dislike of facile or excessively worthy sorts of painting. He had no time for raw green countryside. Plein air as an excuse for landscape genres enraged him. Interiors for him: places with light switches and engaging artificiality and plentiful refreshments."

Patrick Caulfield married Pauline Jacobs, they had met at Chelsea Art School in 1968; they had three sons. After the marriage was dissolved, in 1999 he married artist Janet Nathan.
(See obituaries at The Telegraph and The Guardian).

After Lunch (1975)
From Tate website HERE
Caulfield's paintings explore alternative ways of picturing the world. After Lunch was one of his earliest works to combine different styles of representation. In this case, what appears to be a photomural of the Château de Chillon hanging in a restaurant is depicted with high-focus realism, contrasting with the cartoon-like black-outlined imagery and fields of saturated colour of its surroundings. Caulfield deliberately makes the relationship between these varying representational methods uneasy and ambiguous, so that the picture appears more real than the everyday world around it.




 Lamp and Pines (1975)



 Tandoori Restaurant



 Second Glass of Whisky (1992)



Entrance (1975)
See Platform 505 HERE
Pictures such as “Entrance” employ a rigorous use of black, with complex arrangements of grids, outlines and trellises. The atmosphere is playful and upbeat yet equivocal. These strange gardens and interiors are recognisable but unfamiliar, a parody of the real thing.
BBC website has a slideshow of some of Caulfield's paintings, HERE.




ASTROLOGY

Bill Peet, born January 29, 1915, Grandview, Indiana. Chart set for 12 noon as no time of birth available.


Patrick Caulfield, born January 29 1936, Acton, London, UK. Chart set for 12 noon as no time of birth available.


The artwork of Bill Peet and Patrick Caultfield was so different in "feel"; will their natal charts reflect this?

I see Peet as being a warmer, softer, more engaged in humanity kind of guy - from his choice of art style and genre. He had the heavier Aquarius input: Sun conjunct modern ruler Uranus, and Mercury conjunct Jupiter all in sign of the Water Bearer. Without a time of birth we can't know where Aquarius was placed house-wise though.

I suspect the warmer, softer feel of Peet's artwork comes via Venus (planet of the arts) in philosophical Sagittarius and a likely Cancer Moon, which could well have been conjunct Neptune(creativity and imagination). Mr Peet's talent for writing stories (for children) to match his artwork is reflected by Mercury (the writer's planet) in helpful sextile to artistic Venus; also significant: Saturn in Mercury-ruled Gemini in harmonious trine to Mercury in Aquarius.


Patrick Caulfield's paintings, though attractive and colourful, have a distinctly distant "feel" to them - detached from the human world, they concentrate on line, precision, design and colour rather than on flesh and blood. Whimsicality is absent, its place taken by what art reviewers see as wry detachment and some embedded humour.

Mr Caulfield was of a different generation from Mr Peet's, born a world away too. He was strongly influenced by art trends of the 1960s. His natal chart spreads rather thinner than Peet's, bringing in, Aquarius Sun and Mercury, with personal planets lying between Aries Moon (whatever his time of birth) to Jupiter in Sagittarius.

Arts planet Venus, in his case, was in Capricorn; this reflects the structural feel, reliant on line, of much of his artwork. Very significantly, too, a close trine between Venus (art) and Uranus (the avant garde) in Venus-ruled Taurus links to his pull towards modernity and an avant garde art style.

Hard-edged Saturn and Mars in Pisces possibly overwhelmed the usual gentle softness of Pisces - as far as his art style was concerned anyway. Jupiter in Sagittarius could be seen as source of the wry humour said to be involved in some of his paintings.

It's a pity no times of birth are known for the two artists - I'd be very surprised if their rising signs didn't contrast quite starkly.

Friday, October 21, 2011

Arty Farty Friday ~ Illustrators & The Golden Age

I'm a fan of illustrative art, especially that with roots in The Golden Age of Illustration (roughly 1880s to 1920s). Astrologically, that Golden Age coincided with a period of time when the outer planets were at points in their slow cycles strangely appropriate to what was going on here below.

Development of technology capable of good and economical colour reproduction launched illustrative art into the mainstream. In 1880 Uranus (technology and invention)was in Virgo, ruled by Mercury(planet of communication). Pluto and Neptune were both in Taurus ruled by Venus(planet of art and beauty). It could be said that the seeds of a relatively new industry fell upon fertile ground.

By 1900 Pluto (transformation) and Neptune(imagination) had moved on into Gemini, ruled by Mercury(communication). The generation born then brought us some exceptional communicators, in both art and writing. Uranus was now in Sagittarius ruled by Jupiter (expansion and publishing). The pieces fit.

By 1920 Uranus was traversing its own sign of Aquarius(change and all that's new) maintaining an atmosphere in which people craved novelty. The work of this new breed of artists was in demand. Colourful prints to hang in the home, book and magazine illustrations, illustrated postcards and commercial advertisements were becoming a part of everyday life, both in Europe and America.

In Europe artists such as Alphonse Mucha and Toulouse Lautrec had led the way. In the USA Howard Pyle is credited with ushering in the Golden Age. His many pupils, and others inspired by them, helped it flourish - Maxfield Parrish, Norman Rockwell, and J.C. Leyendecker, among the best known.

The digital age has now changed the scene for illustrators, almost beyond recognition. We may never again see the talent and skills of Rockwell, Parrish and Leyendecker - that is all the more reason to appreciate them.

From the hundreds of examples available I've chosen a few to represent artists from the USA, Britain and Denmark. From the USA, Norman Rockwell, J.C. Leyendecker and Maxfield Parrish. From Denmark Kay Nielsen. From Britain Walter Crane.

Starting with Britain and Walter Crane, because the first illustration is very relevant to the present - OWS an' all. (Walter deserves a post all to himself - maybe next week.)

FROM BRITAIN ~ WALTER CRANE



Proletarians ~~ Proletarier Aller Lander Vereinigt Euch!
[Workers of the World Unite!]
by Walter Crane




Neptune's Horses




FROM THE USA:

NORMAN ROCKWELL(More + astrology in an archived post here.)



The Golden Rule




MAXFIELD PARRISH (More + astrology at archived post, here.)



Ecstasy




Stars



J.C. LEYENDECKER (More + astrology in archived post here.)









FROM DENMARK ~ KAY NIELSEN





Wednesday, November 26, 2008

Thanksgiving Saturn-Uranus Style

Searching for an illustration without the ubiquitous turkey led me to discover this New Yorker cover for Thanksgiving 2006, by illustrator, comic book artist and cartoonist, Chris Ware. I like his spare, crisp style and subtle colours. I like the spirit of this illustration and I found in it an echo of the current Saturn-Uranus opposition - tradition versus modernity. I was amused to find, when I looked at his date of birth and set up a 12 noon natal chart for him, that he has a Saturn-Uranus opposition natally, with Saturn at 5 Aries and Uranus at 29 Virgo - not in opposite signs, but well within orb - or limit of what is mathematically accepted as an opposition.






His sparse style reflects Sun/Mercury in restrictive, structured Capricorn - and his mode of operation also includes the old and the new. Wikipedia tells us:

"Although his precise, geometrical layouts may appear to some to be computer-generated, in fact Ware works almost exclusively with "old-fashioned" drawing tools such as paper and pencil, rulers and T-squares. He does, however, sometimes use photocopies and transparencies, and employs a computer to color his strips."

We're invited to spend Thanksgiving with my husband's eldest daughter, family and friends, and I'm pretty sure we'll resemble the first illustration rather than the second one - reflecting traditional Saturn rather than ultra-modern change-driven Uranus. Saturn does have a good side, after all!



..... to all in the USA tomorrow, whichever style of Thanksgiving you prefer, and happy ordinary tomorrow to everybody else!

Thursday, December 06, 2007

The Golden Age of Illustration

Writing this blog has led me to realise that I'm a keen fan of illustrative art, especially that from a period known as The Golden Age of Illustration (1880s to 1920s). Astrologically, that Golden Age coincides with a period of time when the outer planets were at points in their slow cycles above, strangely appropriate to what was going on below.

Development of technology capable of good and economical colour reproduction launched illustrative art into the mainstream. In 1880 Uranus (technology and invention)was in Virgo, ruled by Mercury(planet of communication). Pluto and Neptune were both in Taurus ruled by Venus(planet of art and beauty). It could be said that the seeds of a relatively new industry fell upon fertile ground.

By 1900 Pluto (transformation) and Neptune(imagination) had moved on into Gemini, ruled by Mercury(communication). The generation born then brought us some exceptional communicators, in both art and writing. Uranus was now in Sagittarius ruled by Jupiter (expansion and publishing). The pieces fit.

By 1920 Uranus was traversing its own sign of Aquarius(revolution and all that's new) maintaining an atmosphere in which people craved novelty and the work of this new breed of artists. A revolution had quietly taken place. Colourful prints to hang in the home, book and magazine illustrations, postcards, illustrated advertisements and posters created rapidly growing commercial demand, both in Europe and America.

In Europe artists such as Alphonse Mucha and Toulouse Lautrec had led the way. In the USA Howard Pyle is credited with ushering in the Golden Age. His many pupils, and others inspired by them, helped it flourish - Maxfield Parrish, Norman Rockwell, and J.C. Leyendecker, among the best known.


"Ecstasy" by Maxfield Parrish


From Norman Rockwell's "The Four Freedoms"


J.C. Leyendecker


(Small illustration at top of blog entry is 'Neptune's Horses' by British illustrator, Walter Crane)

I've written in past months about comic strips and cartoons, and more

pin-ups
children's book illustrators
Aubrey Beardsley,
Beatrix Potter,
Alphonse Mucha
without fully realising that all these do come under the same general heading of illustrative art. I've frequently included Norman Rockwell illustrations, too, because his work has a special appeal.

The digital age has now changed the scene for illustrators, almost beyond recognition. We may never again see the talent and skills of Rockwell, Parrish and Leyendecker - that is all the more reason to appreciate them. I can't resist adding another Maxfield Parrish here - "Stars". I must get me a print of this one!