Let me quote an instance. The style of the late Charles Keene is imitated in more than one journal at the present time, the artists catching his method of line more easily than the higher qualities of his art, his chiaroscuro, his sense of values and atmospheric effect. I say nothing of his pictorial sense and humour, for they are beyond imitation. It is the husk only we have presented to us.
As a matter of education and outlook for the younger generation of illustrators, this imitation of other men’s lines deserves our special consideration. Nothing is easier in line work than to copy from the daily press. Nothing is more prejudicial to good art, or more fatal to progress.
And yet it is the habit of some instructors to hold up the methods (and the tricks) of one draughtsman to the admiration of students. I read in an art periodical the other day, a suggestion for the better understanding of the way to draw topical illustrations in pen and ink, viz.: that examples of the work of Daniel Vierge, Rico, Abbey, Raven Hill, and other noted pen draughtsmen, should be “set as an exercise to students;” of course with explanation by a lecturer or teacher. But this is a dangerous road for the average student to travel. Of all branches of art none leads so quickly to mannerism as line work, and a particular manner when thus acquired is difficult to shake off.
THE RT. HON. JOHN MORLEY, M.P. (EDWIN WARD.)
Think of the consequences—Vierge with his garish lights, his trick of black spots, his mechanical shadows and neglect of chiaroscuro—all redeemed and tolerated in a genius for the dash and spirit and beauty of his lines—lines, be it observed, that reproduce with difficulty on relief blocks—imitated by countless students; Mr. E. A. Abbey, the refined, and delicate American draughtsman, imitated for his method—the style and chic of it being his own, and inimitable. Think of the crowd coming on—imitators of the imitators of Rico—imitators of the imitators of Charles Keene!
It may be said generally, that in order to obtain work as an illustrator—the practical point—there must be originality of thought and design. There must be originality, as well as care and thought bestowed on every drawing for the Press.
The drawing of portraits in line from photographs gives employment to some illustrators, as line blocks will print in newspapers much better than photographs. But for newspaper printing they must be done with something of the precision of this portrait, in which the whites are cut deep and where there are few broken lines.
It is the exception to get good printing in England, under present conditions of haste and cheapening of production, and therefore the best drawings for rapid reproduction are those that require the least touching on the part of the engraver, as a touched-up process block is troublesome to the printer; but it is difficult to impress this on the artistic mind.