"Рисунок наглядно представит мне то, что в книге изложено на целых десяти страницах"
Иван Тургенев,"Отцы и дети"

December 29, 2019

Ньюэлл Конверс Уайет | Баллады округа Пайк | Таинственный незнакомец


"Если представить себе историю американского искусства как огромный многокомнатный особняк, в каждой комнате которого разыгрывается специфичный американский диалог между трансцендентализмом и буквализмом, то комната Ньюэлла Конверса Уайета (анг. Newell Convers Wyeth; 1882-1945), с его особой версией этого диалога — приключенческими историями, рассказанными торжественно, как псалмы — занимает довольно маленькую площадь. Но комната достаточно просторна для растущей семьи и имеет большое окно" ('Pictures Great,' His Publisher Told Him by Adam Gopnik. The New York Times, November 15, 1998. © Перевод - мой).

The Pike County Ballads by John Hay
Illustrated by N.C.WYETH
Boston and New York
Houghton Mifflin Company
1912



The Mysterious Stranger
A Romance by Mark Twain
With Illustrations by N.C.WYETH
New York
Harper & Brothers Publishers
1916




If one imagines the history of American art as a many-chambered mansion, where a peculiarly American dialogue between fantasy and exactitude, between transcendentalism and literalism, gets acted out, then N. C. Wyeth's particular version of that dialogue — adventure stories told as solemnly as psalms — occupies a pretty small room. But it was large enough to raise a family in, and it had a big window.
Newell Convers Wyeth (1882-1945) was one of the greatest illustrators and painters of the twentieth century. He studied under Howard Pyle between 1902 and 1904 and assimilated the teacher’s philosophy to capture natural aspects and meanings through "mental projection." The artist created 3,000 paintings and illustrated 112 books. The paintings created by the maestro are really mental: they live, sound, and are remembered; you definitely want to return to them. Dynamism and complexity of composition; excellent color and skillful distribution of light contrasting with deeply cast shadow; and something transcendental, radiating a vibrant emotionality that is immediately transmitted to the viewer, forcing him to intensely empathize with the characters in the story — this is the visual style of Newell Convers Wyeth. Wyeth himself called his philosophy of illustration a polysemantic term — "sight seen," which I would translate as the ability to look and convey what is seen to the viewer from the position of a single observer — the artist himself. That is, this is a form of presenting material in which the utmost accuracy of realities and carefully thought-out fantasies are not simply the artist's goal to convince the viewer of something but to present the event as a self-evident fact, which the viewer knew about and with which he has always agreed. Wyeth's gaze is the gaze of a child — from bottom to top, the enthusiastic gaze of a boy; it is the artist's memory of the experiences, dreams, and fantasies of childhood and youth; of the bright sun and of large trees casting long afternoon shadows; of a multi-colored, contrasting world full of movement, mysteries, and discoveries — these are our feelings awakened by the artist.
Иллюстрации даны по изданию 1911 года, хранимому в Нью-йорской публичной библиотеке (New York Public Library), дополнены иллюстрациями по сентябрьскому изданию 1911 года из фондов Университетских калифорнийских библиотек (University of California Libraries), находящиеся в оцифрованном виде на сайте "Архив Интернета" (archive.org)
Иллюстрации даны по изданиям, хранимым в Библиотеке Конгресса (The Library of Congress) и в Университетских калифорнийских библиотеках (University of California Libraries), находящиеся в оцифрованном виде на сайте "Архив Интернета" (archive.org)
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December 27, 2019

Ньюэлл Конверс Уайет | Робин Гуд


Сам Уайет называл свою философию иллюстрирования многозначным термином — "sight seen", который я бы перевёл как способность взглянуть и передать увиденное зрителю с позиции единственного наблюдателя — самого художника. То есть это такая форма подачи материала, в которой предельная точность реалий и тщательная продуманность фантазий — не просто цель художника убедить зрителя в чём-то, а представить событие как само собой разумеющийся факт, о котором зрителю было известно и с чем он всегда был согласен. Взгляд Уайета — это взгляд ребёнка — снизу вверх, восторженный взгляд мальчика; это память художника о переживаниях, мечтах, фантазиях детства и юности; о ярком солнце и о больших деревьях, отбрасывающих длинные послеполуденные тени; о многоцветном, контрастном, полном движения, загадок и открытий мире — это разбуженные художником наши чувства.

Robin Hood by Paul Creswick
Illustrated by N.C.WYETH
Philadelphia
D. McKay
1917




Newell Convers Wyeth (1882-1945) was one of the greatest illustrators and painters of the twentieth century. He studied under Howard Pyle between 1902 and 1904 and assimilated the teacher’s philosophy to capture natural aspects and meanings through "mental projection." The artist created 3,000 paintings and illustrated 112 books. The paintings created by the maestro are really mental: they live, sound, and are remembered; you definitely want to return to them. Dynamism and complexity of composition; excellent color and skillful distribution of light contrasting with deeply cast shadow; and something transcendental, radiating a vibrant emotionality that is immediately transmitted to the viewer, forcing him to intensely empathize with the characters in the story — this is the visual style of Newell Convers Wyeth. Wyeth himself called his philosophy of illustration a polysemantic term — "sight seen," which I would translate as the ability to look and convey what is seen to the viewer from the position of a single observer — the artist himself. That is, this is a form of presenting material in which the utmost accuracy of realities and carefully thought-out fantasies are not simply the artist's goal to convince the viewer of something but to present the event as a self-evident fact, which the viewer knew about and with which he has always agreed. Wyeth's gaze is the gaze of a child — from bottom to top, the enthusiastic gaze of a boy; it is the artist's memory of the experiences, dreams, and fantasies of childhood and youth; of the bright sun and of large trees casting long afternoon shadows; of a multi-colored, contrasting world full of movement, mysteries, and discoveries — these are our feelings awakened by the artist.
Иллюстрации даны по изданию, хранимому в фондах Университетских калифорнийских библиотек (University of California Libraries), находящееся в оцифрованном виде на сайте "Архив Интернета" (archive.org)

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December 26, 2019

Ньюэлл Конверс Уайет | Похищенный. Приключения Дэвида Бэлфура



Динамизм и сложность композиции; превосходный цвет и искусное распределение света, контрастирующего с глубоко отбрасываемой тенью; и что-то трансцендентальное, излучающее вибрирующую эмоциональность, которая немедленно передаётся зрителю, заставляя его напряжённо сопереживать героям повествования — это визуальный стиль Ньюэлла Конверса Уайета.


Kidnapped. The Adventures of David Balfour
by Robert Louis Stevenson
Illustrated by N.C.WYETH
New York
Charles Scribner's Sons
1946
Copyright, 1905, 1913, by
CHARLES SCRIBNER’S SONS




Newell Convers Wyeth (1882-1945) was one of the greatest illustrators and painters of the twentieth century. He studied under Howard Pyle between 1902 and 1904 and assimilated the teacher’s philosophy to capture natural aspects and meanings through "mental projection." The artist created 3,000 paintings and illustrated 112 books. The paintings created by the maestro are really mental: they live, sound, and are remembered; you definitely want to return to them. Dynamism and complexity of composition; excellent color and skillful distribution of light contrasting with deeply cast shadow; and something transcendental, radiating a vibrant emotionality that is immediately transmitted to the viewer, forcing him to intensely empathize with the characters in the story — this is the visual style of Newell Convers Wyeth. Wyeth himself called his philosophy of illustration a polysemantic term — "sight seen," which I would translate as the ability to look and convey what is seen to the viewer from the position of a single observer — the artist himself. That is, this is a form of presenting material in which the utmost accuracy of realities and carefully thought-out fantasies are not simply the artist's goal to convince the viewer of something but to present the event as a self-evident fact, which the viewer knew about and with which he has always agreed. Wyeth's gaze is the gaze of a child — from bottom to top, the enthusiastic gaze of a boy; it is the artist's memory of the experiences, dreams, and fantasies of childhood and youth; of the bright sun and of large trees casting long afternoon shadows; of a multi-colored, contrasting world full of movement, mysteries, and discoveries — these are our feelings awakened by the artist.
Иллюстрации даны по изданию 1911 года, хранимому в Нью-йорской публичной библиотеке (New York Public Library), дополнены иллюстрациями по сентябрьскому изданию 1911 года из фондов Университетских калифорнийских библиотек (University of California Libraries), находящиеся в оцифрованном виде на сайте "Архив Интернета" (archive.org)
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December 25, 2019

Ньюэлл Конверс Уайет | Остров сокровищ


В 1911 году книжное издательство Скрибнеров заказало у Ньюэлла Конверса Уайета (анг. Newell Convers Wyeth; 1882-1945) иллюстрации к "Острову сокровищ" Роберта Стивенсона. Вскоре художник представил семнадцать полотен - лучшее, что он когда-либо делал до этого. "Отличные картины", — телеграфировали Скрибнеры Уайету, увидев его работы - и с этого момента "Скрибнеровская иллюстрированная классика" (Scribner’s Illustrated Classics for Young Readers) стала музеем художника, его галереей, его завещанием.

Treasure Island by Robert Louis Stevenson
Illustrated by N.C.WYETH
New York
Charles Scribner's Sons
1911





"Pictures great," Scribners wired when they saw the "Treasure Island" paintings, and from that point on, the Scribners Illustrated Classics became Wyeth's museum, his gallery, his testament: "The Boy's King Arthur," "The Black Arrow," "The Last of the Mohicans," "The Mysterious Island," "The Deerslayer," "Westward Ho!" — more than 350,000 copies of Wyeth's editions were sold by 1930.
Newell Convers Wyeth (1882-1945) was one of the greatest illustrators and painters of the twentieth century. He studied under Howard Pyle between 1902 and 1904 and assimilated the teacher’s philosophy to capture natural aspects and meanings through "mental projection." The artist created 3,000 paintings and illustrated 112 books. The paintings created by the maestro are really mental: they live, sound, and are remembered; you definitely want to return to them. Dynamism and complexity of composition; excellent color and skillful distribution of light contrasting with deeply cast shadow; and something transcendental, radiating a vibrant emotionality that is immediately transmitted to the viewer, forcing him to intensely empathize with the characters in the story — this is the visual style of Newell Convers Wyeth. Wyeth himself called his philosophy of illustration a polysemantic term — "sight seen," which I would translate as the ability to look and convey what is seen to the viewer from the position of a single observer — the artist himself. That is, this is a form of presenting material in which the utmost accuracy of realities and carefully thought-out fantasies are not simply the artist's goal to convince the viewer of something but to present the event as a self-evident fact, which the viewer knew about and with which he has always agreed. Wyeth's gaze is the gaze of a child — from bottom to top, the enthusiastic gaze of a boy; it is the artist's memory of the experiences, dreams, and fantasies of childhood and youth; of the bright sun and of large trees casting long afternoon shadows; of a multi-colored, contrasting world full of movement, mysteries, and discoveries — these are our feelings awakened by the artist.
Иллюстрации даны по изданию 1911 года, хранимому в Нью-йорской публичной библиотеке (New York Public Library), дополнены иллюстрациями по сентябрьскому изданию 1911 года из фондов Университетских калифорнийских библиотек (University of California Libraries), находящиеся в оцифрованном виде на сайте "Архив Интернета" (archive.org)
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December 23, 2019

Ньюэлл Конверс Уайет | Последний из могикан


"Принято считать, что в книжной иллюстрации Ньюэлл Конверс Уайет (анг. Newell Convers Wyeth; 1882-1945) был драматиком более сильным, чем его предшественники. Но на самом деле его гениальность заключалась в том, что он создавал свои картины гораздо менее драматичными, чем предыдущие художники. Его дар был в том, что он приостудил и отрезвил книжную иллюстрацию, и она приняла ту часть гравитации, которая в прошлом принадлежала только высокому искусству" ('Pictures Great,' His Publisher Told Him by Adam Gopnik. The New York Times, November 15, 1998. Перевод - мой).

The last of the Mohicans, a narrative of 1757
by James Fenimore Cooper
Illustrated by N. C. WYETH
New York
Charles Scribner's Sons
1919




The conventional thing to say about his book illustrations is that Wyeth made such pictures more dramatic than his predecessors had done. But in fact his genius lay in making his pictures much less dramatic than pictures like this had ever been before — his gift was for slowing down and sobering up book illustration so that it took on some of the gravity that had in the past belonged only to high art.
Newell Convers Wyeth (1882-1945) was one of the greatest illustrators and painters of the twentieth century. He studied under Howard Pyle between 1902 and 1904 and assimilated the teacher’s philosophy to capture natural aspects and meanings through "mental projection." The artist created 3,000 paintings and illustrated 112 books. The paintings created by the maestro are really mental: they live, sound, and are remembered; you definitely want to return to them. Dynamism and complexity of composition; excellent color and skillful distribution of light contrasting with deeply cast shadow; and something transcendental, radiating a vibrant emotionality that is immediately transmitted to the viewer, forcing him to intensely empathize with the characters in the story — this is the visual style of Newell Convers Wyeth. Wyeth himself called his philosophy of illustration a polysemantic term — "sight seen," which I would translate as the ability to look and convey what is seen to the viewer from the position of a single observer — the artist himself. That is, this is a form of presenting material in which the utmost accuracy of realities and carefully thought-out fantasies are not simply the artist's goal to convince the viewer of something but to present the event as a self-evident fact, which the viewer knew about and with which he has always agreed. Wyeth's gaze is the gaze of a child — from bottom to top, the enthusiastic gaze of a boy; it is the artist's memory of the experiences, dreams, and fantasies of childhood and youth; of the bright sun and of large trees casting long afternoon shadows; of a multi-colored, contrasting world full of movement, mysteries, and discoveries — these are our feelings awakened by the artist.
Иллюстрации даны по изданию, хранимому в фондах Университетских калифорнийских библиотек (University of California Libraries), находящееся в оцифрованном виде на сайте "Архив Интернета" (archive.org)
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