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Harry Fenn was one of the most skilled and successful illustrators in the United States in the latter half of the nineteenth century, a time when illustrated periodicals and books were the primary means of sharing visual images. Fenn’s work fostered pride in America s scenic landscapes and urban centers, informed a curious public about foreign lands, and promoted appreciation of printed pictures as artworks for a growing middle class. Arriving in New York from London in 1857 as a young wood engraver, Fenn soon forged a career in illustration. His tiny black-and-white wood engravings for Whittier’s Snow-Bound (1868) surprised critics with their power, and his bold, innovative compositions for Picturesque America (1872 74) were enormously popular and expanded the field for illustrators and publishers. In the 1880s and 90s, his illustrations appeared in many of the finest magazines and newspapers, depicting the places and events that interested the public from post-Civil War national reconciliation to the World’s Columbian Exposition in 1893 to the beginnings of imperialism in the Spanish-American War.This handsomely designed volume documents Fenn’s prolific career from the 1860s until his death in 1911. Sue Rainey also recounts his adventurous sketching trips in the western United States, Europe, and the Middle East, which enhanced his reputation for depicting far-flung places at a time when the nation was taking a more prominent role on the world stage.
Picturesque Palestine, Sinai and Egypt
Artworks and Letters of John Douglas Woodward, 1878–1879
Inbunden, Engelska, 2024
378 kr
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This book is a beautiful and engaging presentation of drawings and letters by John Douglas Woodward, (1846–1924), a prominent American artist/illustrator during the 1870s and 1880s. He was on assignment for New York publisher D. Appleton and Co. to make on-the-spot drawings for illustrations for Picturesque Palestine, Sinai and Egypt (1881–1883), which has been called the most important book of illustrations of the region of its time. Some 200 of his compositions appeared in the book as wood engravings, the least expensive mass media of the time, while he contributed the art for 13 steel engravings. Woodward traveled with the somewhat older and better-known artist, Harry Fenn, who was the lead artist for the very successful Picturesque America, published by D. Appleton in parts from 1872–1874\. Woodward was the second most prolific contributor to Picturesque America and, like Fenn, also travelled and drew for Picturesque Europe (1878–1879).Woodward’s travels for Picturesque Palestine yielded a treasure trove of unique historical art and correspondence. Most drawings for book and magazine illustrations during this period were discarded by the artist after the printing plates were made. But Woodward saved his, providing a visual record, often in full color, of the region, in addition to the black-and-white illustrations in the book. In presenting them alongside his lively, engaging letters, this book will appeal to those interested in the history and art of the Middle East as well as in the appearance of places of importance mentioned in the Holy Bible and the specifics of travel to the region during the 1870s, when there was almost no tourist infrastructure and limited knowledge of other cultures.Although Picturesque Palestine is well-known to scholars and connoisseurs and available in some libraries and on-line, Woodward’s drawings and letters recording his trip to Palestine are not. The exquisite drawings, rendered in pencil, watercolor, and gouache, belong to the Episcopal Diocese of Virginia and have been stored since 1941 at Shrine Mont, a conference center in Virginia’s Shenandoah Valley (founded by the artist’s nephew). The letters to his wife and mother are in the collection of the Valentine History Museum in Richmond.