Walter Hunt Everett: Loss and Redemption

 

 The Brandywine School of Art taught illustration from the late 19th Century to the first part of the 20th Century. It was during a time when illustrations flourished for books, magazines and newspapers. Many notable illustrators graduated from the school. Some names are familiar, such as: N.C. Wyeth, Norman Rockwell and Maxfield Parrish. 

There were many others whose fame diminished for a variety of reasons just as happens in every art movement. In this case, the artist was Walter Hunt Everett (1880-1946). Yet, Everett's illustrations were well-known in his time and highly prized by publishers. So, why is it we know so little about him now?

 

 

 

Although he was in high demand, his temperament and perfectionism caused him to miss deadlines. Everett was far more interested in mastering his craft. He shaped his brushes, designed his own easel, and sought perfection. This made his illustrations change over time as his style evolved until it was more about art than illustration. Finally, he quit making the art required by publishers.

 

 

 

He was so obsessed with perfecting his talent that he even forgot to pay rent and other bills. It led to his wife leaving him and taken their son with her.

 

 

 

At the peak of his career in the 1930s, a kind of madness came over him and he burned all his illustrations and disappeared!

The question of what happened to him isn't certain. There is speculation that he suffered from depression and possibly another mental illness.

After his death from emphysema, his son found about 30 rolled-up oil paintings hidden in the corner of a barn on Everett's property. Eventually and in a manner of speaking, Everett was resurrected. 

In 2014, the Society of Illustrators welcomed Everett's illustrations into the Hall of Fame with comments such as, "based on the evidence he left behind, the man was a genius." Worthy praise for a story too often told posthumosly in an artist's search for personal expression.

(Some of his colored illustrations were submitted too late for plates to be printed, so the publishers would print in black and white.)

Pamela Colman Smith: You've Probably Seen Her Art

Perhaps you've heard of Alfred Stieglitz.(1864-1946) He was a famous late 19th-early 20th century photographer. He owned a renowned New York gallery to exhibit his and other artists' work. He was also the mentor and husband of Georgia O'Keeffe.

While Stieglitz was personally interested in photography, he recognized brilliance in other media. He cared little about gender and encouraged talented men and women. As a matter of fact, there's a traveling exhibit titled, "Women of the Stieglitz Circle"

The exhibit features works by Georgia O' Keeffe as well as 5 other women painters and photographers. Among the featured painters is Pamela "Pixie" Colman Smith. (1878-1951)

Ms. Smith's artistic style was very popular. In 1907, Stieglitz featured her work at his gallery and nearly every piece sold. So, how did such an artist slip into obscurity? Perhaps she didn't. Perhaps many of us have seen her work - even handled it - and didn't know it was created by Pamela Colman Smith.

First, a little background. She was born and raised in England. By 1909, she was back in her native land and used a small inheritance to buy a cottage in Cornwall. She never married. She continued to take illustration commissions and to send art to Stieglitz for sale at his gallery.

She wrote Stieglitz a letter in November, 1909. In part, this is what she wrote:

I've just finished a big job for very little cash! A set of designs for a deck of Tarot cards. 80 designs.

The illustrations that Smith created are still in use on those cards today. The deck is the "Rider-Waite" Tarot deck. Also called the "Waite-Smith" or "Waite-Colman Smith" deck.

Now you know.

The Artist and the New Year's Baby

Have you heard of J. C. Leyendecker?(1874-1951) What if I added that he was the illustrator who inspired Norman Rockwell?

You see, Leyendecker was the illustrator of the magazine covers at the very popular Saturday Evening Post. In that role, he preceded Rockwell.

I was searching for iconic images for 2011's first blog. There were many images of chubby, precocious New Year's babies which I had seen before. What I didn't know was that they were all illustrations by one artist - J. C. Leyendecker. As I researched his name, I found that he was responsible for the style and look of the magazine's covers. I needed to know more about him and share what I learned with you.

Born in Germany, Leyendecker emigrated as a child to the United States. He was only a a teenager when he received his first paid commission for illustrations. Formal training at the Chicago Art Institute would follow. After an additional year of art study in Paris, he returned to Chicago and begin receiving commissions.


In the course of 44 years, he illustrated at least 322 magazine covers for the Saturday Evening Post! Leyendecker's creative output would include not only the chubby New Year's baby, but also the rotund image of Santa Claus. (Perhaps based on the poem, "Twas the Night Before Christmas" by Moore.)

One more bit of interesting info: Leyendecker's illustration style not only influenced Rockwell's work, but also today's artists. It seems that computer game illustrators have used his techniques for various game graphics. Inspiring artist indeed!

Here are a few more of his New Year's baby covers... and Happy 2011 to you!

Norman Rockwell's Thanksgiving Dilemma

The year was 1943. The U. S. was in the throes of WWII. GIs were fighting in both the Pacific and Europe. At home, folks were experiencing scarcity. Sugar, coffee, and even gasoline were being rationed. In this environment, Norman Rockwell was commissioned to illustrate the Thanksgiving issue for the Saturday Evening Post. Thus was Rockwell's dilemma. What to do?

Rockwell knew that with the complete mobilization of the nation and the scarcities created by the war, it would be difficult to show a table laden with food. He thought of the soldiers slogging through winter in Europe or humid, rainy jungles in the Pacific. What would they think of such an image?

He decided on a composition showing what it meant to have a warm and secure life. To that end, he titled his illustration, "Freedom from Want." That was genius. It told those that were fighting and the people back home who supported them, that they were fighting for a safety of the American homeland.

Rockwell personalized the composition by placing the viewer at the table. He emphasized the folks (including the viewer) in conversation and avoided a food-laden table. Soldiers who were so far from home could place themselves in the scene. In fact, all Americans could place themselves in that the painting. No wonder it became an icon of Thanksgiving in the U. S.

As you look at the composition, is there anything else you notice as to how Rockwell solved his dilemma? What are the feelings that you have when you look at the painting?

Have a Happy Thanksgiving. R.