Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh was a superb draftsman and accomplished illustrator who flourished during the Golden Age of American Illustration. He was sought after by the most popular authors and publications. During his success, he was one of the highest-paid illustrators in the country. In 1925, Art Critic Evert Shinn proclaimed him “America’s greatest illustrator.” Raleigh was born in Portland, Oregon in 1880, into a broken family and a life of poverty. He began working at the age of 9.
I've previously written about Henry Raleigh (1880-1944), the famed illustrator best known for his pictures of the frothy lifestyle of high society in the Gatsby era. Raleigh was so successful he became a swinging participant in the fashionable life himself. He traveled lavishly, treating groups of friends to ocean cruises. He also maintained a yacht, owned a mansion and kept a large studio in downtown Manhattan. But until I read the new book about Raleigh by his grandson, I was unaware of Raleigh's art of social conscience. In keeping with our recent conversations about illustrators who responded to politically troubled times with pictures about social injustice , it turns out that Christopher Raleigh's new book contains a whole chapter devoted to Raleigh's lithographs and posters dealing with war, famine and social injustice. To be certain, most of the chapters of the new book are devoted to themes such as, "High Society: The Gatsby Era," "Romantic Interlude" and "Youthful Innocence." But Raleigh turns out to be equally effective with war posters and art designed to raise public consciousness. I was pleased to see that Raleigh's grandson had access to numerous original Raleigh works for reproduction. Many of these images were not well reproduced in the magazines of the 1920s, and it's a treat to see for the first time what Raleigh really intended.
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Henry Patrick Raleigh(1880-1944)의 작품입니다.
'Seated Woman In Black Dress' - by Henry Patrick Raleigh (1880-1944)
Illustrator Henry Raleigh had a thing for shoulders. Other artists loved to draw hands. Al Dorne, Steve Ditko and Mort Drucker all emphasized hands in their pictures, building compositions around them and infusing them with significance. Amedeo Modigliani's tastes were a little different; he seemed to have a thing for necks, extruding them to achieve the effects he wanted. And Robert McGinnis consistently painted women with weirdly elongated legs. He apparently found these proportions pleasing. But to return to our story, Raleigh had a thing for shoulders. Many artists didn't see much potential in shoulders, assuming that they were generally symmetrical and level. Raleigh looked closer and saw them swooping and dipping like languorous gulls: When Raleigh needed a figure in the foreground, sometimes it was little more than a shoulder in the "debutante slouch." Time and again, he placed women's shoulders at center stage, plunging and ascending to guide the viewer around his picture: Most artists use facial expressions to convey attitude. Raleigh could convey it with shoulders: Every chance he got, Raleigh looked for excuses to draw bare shoulders and backs (regardless of what he was being paid to illustrate). Look at his loving treatment of these women and there is no mistaking his personal tastes: Why is one artist smitten by the lines and shapes of bare shoulders, while another lavishes attention on hands, and a third finds creative potential in necks? Some say these preferences stem from cultural conditioning or climate or endocrinology or childhood experiences or intellect or sexual desire. Whatever the explanation, pictures highlight the features that most appeal to the artist's personal taste. You or I might walk through this world overlooking the special beauty of shoulder blades and clavicles, but it's hard to do after viewing them through Raleigh's loving eyes. We might not end up completely sharing his fetish, but we certainly have a heightened appreciation for what shoulders can be. And that's a good thing.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Again, from the same copy of The Saturday Evening Post (April 13, 1934) I give you two illustrations by Henry Raleigh . I love the line wo...
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The illustrator Henry Raleigh started and ended life in poverty and despair. But in between, he spent decades painting high society pictures and living the opulent life of one of the best paid illustrators in the country. Born into a broken and destitute family, Raleigh began working at age 9 to support his mother and sisters. By the age of 12, he quit school altogether and found work on the docks of San Francisco, processing shipments of coffee beans from South America. Here, rough sailors and roustabouts filled his head with colorful and bawdy stories of life in far off places. At age 17, his knack for drawing landed him a job as a newspaper artist for the San Francisco Bulletin where he was assigned to some of the most seamy and gruesome aspects of the city, including executions, fires and fatal accidents. He later recalled learning a lot about human anatomy at the morgue sketching "promising looking corpses." Raleigh's work soon attracted the attention of art directors and publishers who offered him better assignments. He moved to New York where he gradually progressed from newspapers to top magazines such as Vanity Fair, Harper's Bazaar, Colliers and Saturday Evening Post. Surprisingly, his trademark became his pictures of glittering parties and fashionable society life. He was sought after by some of the greatest writers of his day, including F. Scott Fitzgerald, who wrote a fan letter saying, "Honestly, I think they're the best illustrations I've ever seen!" At his peak, Raleigh was able to make enough money from just three or four months of work to enable him to spend the balance of the year traveling abroad with family and friends. American Artist magazine later wrote: With distinction came affluence. In his best years his annual take was in the neighborhood of $100,000. Considering the then value of the dollar and the relatively insignificant tax on income, Raleigh probably had more cash in hand at the end of the year than any other illustrator before or since. But Raleigh also spent money freely. He gave away thousands of dollars to friends, traveled lavishly, maintained a yacht, owned a mansion and kept a large studio in downtown Manhattan. Unfortunately, styles changed (along with social values and taste in art) and his work dried up. Raleigh could not adapt; bankrupt and bitter, he committed suicide in 1944 by jumping out of the window of a sleazy hotel in Times Square. One of the things that I find most interesting about Raleigh's approach is the way he often surrounds a core of careful drawing with a flurry of loose scribbles, repetitive lines and stray marks. My initial reaction to his work was frustration with what seemed like a lot of superfluous, fluttery lines. But I learned more about his objectives when I read a 1923 interview: the most beautiful picture is one which the observer is left free to complete for himself. The illustrator should be able to select the essential elements in any subject which will convey to the layman the entire scene in the simplest and most direct way, avoiding mere details which tend to cause either monotony or confusion.And indeed, the focal point of Raleigh's illustration often consists of a few sensitive, well placed lines to define the "essential elements" (proving he can indeed draw), encircled by increasingly loose and broad marks that create a general tone but offer few competing details. Note how quickly Raleigh retreats from his careful handling of the central figures to the stray, wispy lines of the background couple (above) or the loose treatment of the balustrade (below). Similarly, in the following illustration... contrast Raleigh's careful treatment of the exchange between the two main characters: With the loose, flowing treatment of the rest of the picture: The majority of this picture seems to be made up of the chaos and scribbles you might expect from an abstract painter: Finally, in the following detail, contrast the delicate linework in the faces at the top of the picture with the broad, rough treatment of the balance of the image: I admire the fluid, seemingly effortless way that Raleigh was able to combine two very disparate ingredients in his art. If he had been able to accomplish the same thing with the disparate sides of his life, he might have had a chance at happiness.
Написано klassika Прочитать цитируемое сообщение Ты - женщина, и этим ты права..... (часть 5) klassika tdtd /td/tr Rod McKuen ALBERT DORNE (American, 1904-1965) " ALBERT DORNE (American, 1904-1965) ALBERT DORNE (American, 1904-1965) tdtd…
Henry Raleigh
Henry Patrick Raleigh was a superb draftsman and accomplished illustrator who flourished during the Golden Age of American Illustration. He was sought after by the most popular authors and publications. During his success, he was one of the highest-paid illustrators in the country. In 1925, Art Critic Evert Shinn proclaimed him “America’s greatest illustrator.” Raleigh was born in Portland, Oregon in 1880, into a broken family and a life of poverty. He began working at the age of 9.
Identifiable by his ink-sketch style overlaid with colored washes, Henry Patrick Raleigh (1880-1944) spent decades navigating high society and portraying opulent life as one of America’s highest paid illustrators. He created illustrations for iconic publications such as Harper’s Bazaar, The Saturday Evening Post, Vanity Fair and Colliers. Some of the greatest writers of the day, including F. Scott Fitzgerald, sought after Raleigh. Fitzgerald even wrote a fan letter saying, “Honestly, I think they’re the best illustrations I’ve ever seen!” Source: Retrografix.com, Twitter @retrografixcom
The illustrator Henry Raleigh started and ended life in poverty and despair. But in between, he spent decades painting high society pictures and living the opulent life of one of the best paid illustrators in the country. Born into a broken and destitute family, Raleigh began working at age 9 to support his mother and sisters. By the age of 12, he quit school altogether and found work on the docks of San Francisco, processing shipments of coffee beans from South America. Here, rough sailors and roustabouts filled his head with colorful and bawdy stories of life in far off places. At age 17, his knack for drawing landed him a job as a newspaper artist for the San Francisco Bulletin where he was assigned to some of the most seamy and gruesome aspects of the city, including executions, fires and fatal accidents. He later recalled learning a lot about human anatomy at the morgue sketching "promising looking corpses." Raleigh's work soon attracted the attention of art directors and publishers who offered him better assignments. He moved to New York where he gradually progressed from newspapers to top magazines such as Vanity Fair, Harper's Bazaar, Colliers and Saturday Evening Post. Surprisingly, his trademark became his pictures of glittering parties and fashionable society life. He was sought after by some of the greatest writers of his day, including F. Scott Fitzgerald, who wrote a fan letter saying, "Honestly, I think they're the best illustrations I've ever seen!" At his peak, Raleigh was able to make enough money from just three or four months of work to enable him to spend the balance of the year traveling abroad with family and friends. American Artist magazine later wrote: With distinction came affluence. In his best years his annual take was in the neighborhood of $100,000. Considering the then value of the dollar and the relatively insignificant tax on income, Raleigh probably had more cash in hand at the end of the year than any other illustrator before or since. But Raleigh also spent money freely. He gave away thousands of dollars to friends, traveled lavishly, maintained a yacht, owned a mansion and kept a large studio in downtown Manhattan. Unfortunately, styles changed (along with social values and taste in art) and his work dried up. Raleigh could not adapt; bankrupt and bitter, he committed suicide in 1944 by jumping out of the window of a sleazy hotel in Times Square. One of the things that I find most interesting about Raleigh's approach is the way he often surrounds a core of careful drawing with a flurry of loose scribbles, repetitive lines and stray marks. My initial reaction to his work was frustration with what seemed like a lot of superfluous, fluttery lines. But I learned more about his objectives when I read a 1923 interview: the most beautiful picture is one which the observer is left free to complete for himself. The illustrator should be able to select the essential elements in any subject which will convey to the layman the entire scene in the simplest and most direct way, avoiding mere details which tend to cause either monotony or confusion.And indeed, the focal point of Raleigh's illustration often consists of a few sensitive, well placed lines to define the "essential elements" (proving he can indeed draw), encircled by increasingly loose and broad marks that create a general tone but offer few competing details. Note how quickly Raleigh retreats from his careful handling of the central figures to the stray, wispy lines of the background couple (above) or the loose treatment of the balustrade (below). Similarly, in the following illustration... contrast Raleigh's careful treatment of the exchange between the two main characters: With the loose, flowing treatment of the rest of the picture: The majority of this picture seems to be made up of the chaos and scribbles you might expect from an abstract painter: Finally, in the following detail, contrast the delicate linework in the faces at the top of the picture with the broad, rough treatment of the balance of the image: I admire the fluid, seemingly effortless way that Raleigh was able to combine two very disparate ingredients in his art. If he had been able to accomplish the same thing with the disparate sides of his life, he might have had a chance at happiness.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
Henry Patrick Raleigh(1880-1944)의 작품입니다.
