Page images
PDF
EPUB
[merged small][graphic][subsumed][subsumed][merged small]
[graphic]

LTHOUGH the books of the present season are not, as a whole, equal to those of past years, still there are some that deserve commendation. Conspicuous amongst them we may mention Mr. John Leighton's symbolic "Life of Man," which, adopting the motto of "All the world's a stage," points out the gradual development, ripening, and decay of man, accompanied by references to the months of the year and the life of trees and plants. This is unquestionably the best illustrated book of the season. Which of the others may rank next we will not venture to say. The Dalziel Adelphi make an annual offering in their own names; and also, under the veil of Cervantes, the "Arabian Nights' Entertainments," and other disguises, they present a variety of tempting books. But publishers appear to have nearly exhausted their resources, and therefore reproduce the books of the past in a new, and, in some instances, a cheaper form. The public need not be dissatisfied with this. Tennyson's "Princess," with Maclise's illustrations; Willmott's "Poets of the Nineteenth Century;" Mackay's "Home Affections;" and the "Juvenile Verse and Picture-book," are all more than equal to any of the new books. Of the smaller volumes the most noticeable are, a charming edition of "Watts's Moral Songs" and "Alice's Adventures in Wonderland," in which latter there is a freshness quite delightful: "Our Life Illustrated by Pen and Pencil;" and a religious work, "The Path on Earth to the Gate of Heaven," the illustrations to which are of a very high order. To those who prefer old acquaintances, either Mr. Millais's "Illustrations," or the "Pictures of Society," will possess a charm. This year we have nothing in colour printing equal to the grand work of Kellerhoven's, which we last year introduced to the notice of the English public; but we have Herr Stilke's "Leaves and Blossoms of the Year"-a work of considerable beauty; also a "Book of Favourite Ballads," which has some merit. But the great feature of the year is the introduction of Gustave Doré to a wide circle of admirers to whom he has hitherto been almost unknown. Doré takes the town by storm. He gives us the playful in Perrault, the funny in Munchausen, the awful and horrible in Dante, and the solemn, the grand, and the devotional in the Bible. Doré will ere long be as familiarly known in this country as in his own. Neither must photography be overlooked, for in Mr. Bennett's volume of "Flemish Relics" we have the most satisfactory book of the kind yet produced. Much as we delight in designs upon wood or steel, some subjects appear better suited for, and can only have justice done them by, the photographic art.

THE BOOKSELLER, DEC. 12, 1865.

GUSTAVE DORÉ.

SINCE the days of Bewick wood-engraving has passed through many phases of style and execution in this country, till scarcely a trace of the manner of that conscientious master of the art is to be found in contemporary productions.

This has not been a step in advance, but rather a retrograde movement, in which the true resources and capabilities of the art are lost sight of or perverted. Wood-engraving has been made to appear anything but what it really is, as if it were ashamed of its origin. At one time it was sought to make it look as much like line engraving and etching as possible; now the prevailing fashion is to give to wood engraving the character of pen-and-ink drawings, so that at first sight they appear like lithographs. But wood-engraving is an honest, original art, which can rely upon its own means and resources and assert its own method. It attains its end by lines in relief, as distinguished by the intaglio lines of steel or copper-plate-engraving; but when it attempts to closely imitate either of these styles, it is so far a false art that it produces by great labour the appearance of being done in a way exactly the reverse of that by which it really is done.

That wood-engraving has not kept pace with the increased demands upon it, is probably due to the fact that as an art it has been greatly underrated. Neither the artist who draws the design on the wood, nor the engraver who cuts it, have, as a general rule, shown due respect for this art. The artist, especially, has thought it an act of great condescension to waste his talent upon a woodcut, forgetful of the fact that the little vignettes by Stothard are more highly prized than his paintings. Then, again, artists accustomed to the wide space afforded by the cartoon and canvas, have found themselves unequal to the effort of drawing on a miniature scale upon the hard surface of boxwood. But that genius can overcome all difficulties and impediments, is well exemplified in the person of Gustave Doré, who, though comparatively young, has by sheer force of genius and hard work achieved a greater fame in Europe than any individual of his years, solely by the excellence of his drawings on the wood.

Gustave Doré has effected a complete revolution in wood-engraving, or rather a renaissance; for much of his success has arisen through his return to the legitimate aims and methods upon which the art is based, while he has discovered or invented several new resources in wood-engraving, and formed an entirely new school in Paris.

An examination of the numerous designs from the pencil of Gustave Doré serves to assure us that he is a man possessing remarkable genius, developed by unremitting application and industry. Before he had attained his thirtieth year the number of his designs are said to have exceeded forty-four thousand-not those sketchy things which are so frequently put forth to conceal a lack of resources-but for the most part carefully studied designs, teeming with ori ginality.

It is usual to speak of Gustave Doré as a very young man, which, in the face of the prodigious fecundity of his pencil, seems a contradiction. He was born at Strasburg in January, 1833, and is now in his thirtythird year. His artistic career in Paris was begun in 1854, where he soon made a name by his exquisite pen-and-ink drawings and book illustrations. His earlier efforts appeared in the Journal pour Rire, in the Musée Anglo-Français, and the Journal pour Tous. His first series of book illustrations were drawn for an edition of Rabelais, followed in 1856 by an illustrated Wandering Jew, and some of Balzac's stories. In 1857 his illus trated edition of Montaigne and of Perrault's Fairy Tales were published, followed in 1859 by his designs for Taine's Tour in the Pyre nées. Next Baron Munchausen and Don Quixote received new vitality from his pencil.

All these works display a marvellous fancy, fertility of invention, and quickness of conception, sustained by careful elaboration of individual character and accessories. They show a rare creative power, through which he is enabled to give embodiment to the wildest conceptions of the imagination. For Doré is not the mere illustrator, who writes out the author's thoughts by prescrip tion in dull prose; he is an original thinker and poet" of imagination all compact:" who might worthily associate with Dante and Cervantes.

one

We now see, for the first time, how great be put is the quantity of intellect which may into book illustration. The dignity and worth of the art of wood-engraving are asserted with invincible power; and every one with a true perception of art must feel that more power lies in designing a woodcut for Dante, than in covering many square feet of canvas with gaudy insipidities. For what we naturally look for in a pictorial illustration, be it drawing or painting, is the thought;-in a book illustrated by Dore, such as Dante, there is more thought than is usually presented by an entire academic

exhibition.

Doré's genius is many-sided. His imagi

[graphic][subsumed][ocr errors][subsumed][subsumed]

GUSTAVE DORÉ.

SINCE the days of Bewick wood-engraving has passed through many phases of style and execution in this country, till scarcely a trace of the manner of that conscientious master of the art is to be found in contemporary productions.

This has not been a step in advance, but rather a retrograde movement, in which the true resources and capabilities of the art are lost sight of or perverted. Wood-engraving has been made to appear anything but what it really is, as if it were ashamed of its origin. At one time it was sought to make it look as much like line engraving and etching as possible; now the prevailing fashion is to give to wood engraving the character of pen-and-ink drawings, so that at first sight they appear like lithographs. But wood-engraving is an honest, original art, which can rely upon its own means and resources and assert its own method. It attains its end by lines in relief, as distinguished by the intaglio lines of steel or copper-plate-engraving; but when it attempts to closely imitate either of these styles, it is so far a false art that it produces by great labour the appearance of being done in a way exactly the reverse of that by which it really is done.

That wood-engraving has not kept pace with the increased demands upon it, is probably due to the fact that as an art it has been greatly underrated. Neither the artist who draws the design on the wood, nor the engraver who cuts it, have, as a general rule, shown due respect for this art. The artist, especially, has thought it an act of great condescension to waste his talent upon a woodcut, forgetful of the fact that the little vignettes by Stothard are more highly prized than his paintings. Then, again, artists accustomed to the wide space afforded by the cartoon and canvas, have found themselves unequal to the effort of drawing on a miniature scale upon the hard surface of boxwood. But that genius can overcome all difficulties and impediments, is well exemplified in the person of Gustave Doré, who, though comparatively young, has by sheer force of genius and hard work achieved a greater fame in Europe than any individual of his years, solely by the excellence of his drawings on the wood.

Gustave Doré has effected a complete revolution in wood-engraving, or rather a renaissance; for much of his success has arisen through his return to the legitimate aims and methods upon which the art is based, while he has discovered or invented several new resources in wood-engraving, and formed an entirely new school in Paris.

An examination of the numerous designs from the pencil of Gustave Doré serves to assure us that he is a man possessing remarkable genius, developed by unremitting application and industry. Before he had attained his thirtieth year the number of his designs are said to have exceeded forty-four thousand-not those sketchy things which are so frequently put forth to conceal a lack of resources-but for the most part carefully studied designs, teeming with originality.

It is usual to speak of Gustave Doré as a very young man, which, in the face of the prodigious fecundity of his pencil, seems a contradiction. He was born at Strasburg in January, 1833, and is now in his thirtythird year. His artistic career in Paris was begun in 1854, where he soon made a name by his exquisite pen-and-ink drawings and book illustrations. His earlier efforts appeared in the Journal pour Rire, in the Musée Anglo-Français, and the Journal pour Tous. His first series of book illustrations were drawn for an edition of Rabelais, followed in 1856 by an illustrated Wandering Jew, and some of Balzac's stories. In 1857 his illus trated edition of Montaigne and of Perrault's Fairy Tales were published, followed in 1859 by his designs for Taine's Tour in the Pyrenées. Next Baron Munchausen and Don Quixote received new vitality from his pencil.

All these works display a marvellous fancy, fertility of invention, and quickness of conception, sustained by careful elaboration of individual character and accessories. They show a rare creative power, through which he is enabled to give embodiment to the wildest conceptions of the imagination. For Doré is not the mere illustrator, who writes out the author's thoughts by prescrip tion in dull prose; he is an original thinker and poet" of imagination all compact;" one who might worthily associate with Dante and Cervantes.

are

We now see, for the first time, how great is the quantity of intellect which may be put into book illustration. The dignity and worth of the art of wood-engraving asserted with invincible power; and every one with a true perception of art must fee! that more power lies in designing a woodcut for Dante, than in covering many square feet of canvas with gaudy insipidities. For what we naturally look for in a pictoria illustration, be it drawing or painting, is the thought;-in a book illustrated by Doré, such as Dante, there is more thought than is usually presented by an entire academic

exhibition.

Doré's genius is many-sided. His imagi

[graphic]
« PreviousContinue »