Рождественские мотивы в иллюстрациях Ньюэлла Конверса Уайета

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The Stable of the Inn by Thomas Nelson. Scribner's Magazine, December 1912

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Одним из важнейших аспектов искусства Ньюэлла Конверса Уайета (анг. Newell Convers Wyeth; 1882-1945) было его стремление глубоко понять и прочувствовать сущность своих героев; он верил в силу непосредственного опыта. Эта приверженность эмпирическому знанию позволила ему наполнить свои картины подлинностью, силой и жизненной энергией.

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Christmas Moning. Scribner's Magazine, December 1912

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Man Dressing as Santa Claus. Popular Magazine, December 1915

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Hey, Kiddies, here we are again! Judge, December 1921

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Twas the night before Christmas. The Country Gentleman, December 1925

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Christmas in Old Virginia. Oil on canvas, 1927

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Ньюэлл Конверс Уайет (Newell Convers Wyeth)

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One of the most important aspects of Newell Convers Wyeth's (1882-1945) art was his desire to deeply understand and empathize with the essence of his subjects; he believed in the power of direct experience. This commitment to empirical knowledge allowed him to imbue his paintings with authenticity, power, and vitality.

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Дополнительно: Катриона. Приключения Дэвида Бэлфура; Баллады округа Пайк | Таинственный незнакомец; Робин Гуд; Похищенный. Приключения Дэвида Бэлфура; Остров сокровищ; Последний из могикан; Сватовство Майлза Стэндиша | Рип Ван Винкль; Иллюстрации Ньюэлла Конверса Уайета в журнале "Скрибнерз магэзин" (1914-1917); Иллюстрации Ньюэлла Конверса Уайета в журнале "Скрибнерз магэзин" (1910-1913); Робизон Крузо; Ньюэлл Конверс Уайет (Newell Convers Wyeth)

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Ньюэлл Конверс Уайет | Катриона. Приключения Дэвида Бэлфура

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"Явления человеческой жизни, красочные, живописные и всеми корнями связанные с нравственностью, и, с другой стороны, явления ясные, бесспорные и составляющие неотъемлемую часть науки — только они поистине важны, захватывающе интересны и достойны того, чтобы о них говорить. Пока писатель выступает всего лишь в роли рассказчика, он должен главным образом повествовать именно об этих явлениях. Он должен показывать добрые, здоровые, красивые стороны жизни; он должен с беспощадной откровенностью показывать зло и скорбь нашего времени, дабы пробудить в нас сострадание; он должен показывать нам мудрых и хороших людей прошлого, дабы взволновать нас их примером; и говорить о них он должен трезво и правдиво, не приукрашивая их слабостей, чтобы мы не разочаровались в самих себе и не стали слишком взыскательны к нашим ближним..." (текст по изданию — Стивенсон Р. .Л. Собрание сочинений в 5 т. М.: Терра, 1993. Том 5, с. 509-555) — прекрасные слова писателя, по моему мнению, должные быть кредо художника в любом виде искусства. И в этом высоком смысле, наверное, я не ошибусь, назвав иллюстратора Ньюэлла Конверса Уайета достойным сподвижником великого классика — Роберта Луиса Стивенсона.

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Ньюэлл Конверс Уайет (Newell Convers Wyeth)

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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.

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Ньюэлл Конверс Уайет | Баллады округа Пайк | Таинственный незнакомец

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"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).

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

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

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Ньюэлл Конверс Уайет (Newell Convers Wyeth)

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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.

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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.

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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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Ньюэлл Конверс Уайет | Робин Гуд

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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.

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

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Ньюэлл Конверс Уайет (Newell Convers Wyeth)

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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.

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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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Ньюэлл Конверс Уайет | Похищенный. Приключения Дэвида Бэлфура

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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.

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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

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Ньюэлл Конверс Уайет (Newell Convers Wyeth)

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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.

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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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