Gleeson White

“ That neither course in itself produces great work may be granted, but one cannot avoid the conclusion that if it be best to illustrate a novel (which is by no means certain) that artist is most worthy of praise who does his utmost to present the characters invented by the author. True, that character-drawing with pen and pencil is out of date,—subtle emotion has taken its place,—it is not easy to make a picture of a person smiling outwardly, but inwardly convulsed with conflicting desires; the smile you may get, but the conflicting desires are hard to work in at the same time. ”

“ He is the true artist of fairyland, because he recognises its practical possibilities, and yet does not lose the glamour which was never on sea or land. No artist could give more cultured notions of fairyland. In his work the vulgar glories of a pantomime are replaced by well-conceived splendour; the tawdry adjuncts of a throne-room, as represented in a theatre, are ignored. Temples and palaces of the early Renaissance, filled with graceful—perhaps a shade too suave—figures, embody all the charm of the impossible country, with none of the sordid drawbacks that are common to real life. ”

“ Nowhere else does a work of Christian architecture so express purity and repose and the beauty of holiness, while the green pastures that surround it might well be those of which the Psalmist writes. When the sun shines on the pale grey stones, and the level grass, and the silent trees, and throws the long shadow of the spire across them, it is as though a choir of seraphs sang in benediction of that peace of God which passeth understanding. ”

“ For certain qualities which are not remotely connected with art belong to them; but the beauty of truth, the knowledge born of academic accomplishment, or literal imitation of nature, were alike absolutely beyond their sympathy. Hence to praise their work as one praises a Dürer, a Whistler, or a Millais, is apt to confuse the minds of the laity, already none too clear as to the moment when art comes in. ”

“ The whole cresting of the tower, and the perfectly natural way in which its lines continue easily into the graceful spire itself, are triumphs of successful design. The silhouette of the mass against the sky so precisely reaches the ideal effect that it is difficult to restrain oneself to sober criticism in describing it, yet the result is achieved so naturally that until we compare it with others, especially with modern ones, we hardly do justice to the subtle beauty that gives it a right to the supremacy it has won. ”

“ Possibly, in pleading for imaginative art, one has forgotten that everywhere is Wonderland to a child, who would be no more astonished to find a real elephant dropping in to tea, or a real miniature railway across the lawn, than in finding a toy elephant or a toy engine awaiting him. Children are so accustomed to novelty that they do not realise the abnormal; [63] nor do they always crave for unreality. As coaches and horses were the delight of youngsters a century ago, so are trains and steamboats to-day. ”

“ There are many who prefer the safety of an established periodical to the risk which must needs attend any 'up-to-date' venture. Now Once a Week was not merely 'up-to-date' in its period, but far ahead of the popular taste. As we cannot rival it to-day in its own line, even the most ardent defender of the present at the expense of the past must own that the improvement in process-engraving and the increased truth of facsimile reproductions it offers have not inspired draughtsmen to higher efforts. Why so excellent a magazine is not flourishing to-day is a mystery. ”

“ Walter Crane, Miss Kate Greenaway, Miss Dorothy Tennant, have each tried to surpass the other in appealing to the New Hero's love of real business in art—treating him, indeed, as though he were Hoteï, the Japanese god of enjoyment—giving him as much colour, as much dramatic action, and as little perspective as is possible to man's finite capacity in this line. Some generous art critics have even gone so far indeed as to credit an entire artistic movement, that of pre-Raphaelism, with a benevolent desire to accommodate art to the New Hero's peculiar ideas upon perspective. ”

“ The whole scheme of decoration in its pristine state must have been extremely beautiful. "If you can imagine it with the walls and piers exhibiting strong contrasts of colour in the dark and polished Purbeck shafts and the lighter freestones, the arches picked out with colours, the groining elaborately decorated, and the whole lighted by brilliantly painted windows with a preponderance of dark blue and ruby, together with a flood of white light showing through the lancet of the centre, we may be allowed a doubt whether Tintern or York could have compared with it." ”

“ The earliest attempt to provide a magazine with original illustrations by the chief artists of its time was not merely a bold and well-considered experiment but, as the thirteen volumes of its first series show, an instant and admirably sustained triumph. No other thirteen volumes of an English magazine, at any period, contain so much first-class work. The invention and knowledge, the mastery of the methods employed, and the superb achievements of some of its contributors entitle it to be ranked as one of the few artistic enterprises of which England may be justly proud. ”

“ So great is the fascination exercised by continual study of a single mediæval building which has escaped destruction, or over-restoration, that such a statement may be advanced in all good faith. In claiming, however, that the cloisters of Salisbury are on the whole the most beautiful in England, it is merely re-asserting what many critics of Gothic architecture have already decided to be true. The cloisters of Gloucester are far richer, the space they cover at Wells (like Salisbury, not a monastic establishment) is greater, and in other details these may not be the finest. ”

“ Indeed, as you study the so-called 'immortal' designs which illustrate the early Victorian novels, you feel that if many of the artists were once considered to be as great as the authors whose ideas they interpreted, time has wreaked revenge at last. If a boy happens to read for the first time Thackeray's Vanity Fair with its original illustrations, the humour and pathos of the masterpiece lose half their power when the ridiculously feeble drawings confront him throughout the book. This is not the case with Millais' illustrations to Trollope, or those by Fred Walker to Thackeray. ”

“ Walter Crane's designs, it would have been as interesting in every respect. There is probably not a single illustrator here mentioned who would not endorse such a statement. For as a maker of children's books, no one ever attempted the task he fulfilled so gaily, and no one since has beaten him on his own ground. Even Mr. Howard Pyle, his most worthy rival, has given us no wealth of colour-prints. So that the famous toy books still retain their well-merited position as the most delightful books for the nursery and the studio, equally beloved by babies and artists. ”

“ Given the artist as craftsman, he may always be trusted to distance his rival, whether it be mechanism or a profit-making corporation which reduces the individuality of its agents to the level of machines. For in art, still more than in commerce, it is the personal equation that finally controls and shapes the project to mastery, and the whole charm of the sixties is the individual charm of each artist. ”