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Howard Pyle and the American
Renaissance
March 17 - May 20, 2007
Case Labels for the exhibition
-
- [CASE 1]
-
- During the American Renaissance, popular magazines reflected
the period's fascination with the art of the ancient past, contemporary
civilizations, and cultural progress.
-
- Publications such as Scribner's Monthly, The
Century Magazine, and Harper's Magazine offered a stimulating
variety of topics that appealed to educated audiences. These magazines
attracted established authors, scholars, scientists, critics, and even
young talents who contributed informative articles on art, scientific discoveries
and phenomena, travel, literature, theater, and music. Many artists contributed
essays on art history and current trends in Europe and America. As magazines
became cultural magnets, artists featured in such publications found it
helped their careers.
-
- Harriet Prescott Spofford, "Elizabethan and Later
English Furniture," in Harper's Magazine, December 1877
- Collection of Brandywine River Museum Library
-
- [CASE 2]
-
- James Baldwin, The Golden Age
- New York: Charles Scribner's Sons, 1887
- Illustrated by Howard Pyle
- Collection of Brandywine River Museum Library
-
- In A Story of the Golden Age, author James Baldwin
revised selected episodes from The Iliad and The Odyssey
for young readers. True to the spirit of the American Renaissance, he stressed
the importance of giving the tales "a different coloring," by
rearranging events, leaving out certain details, or emphasizing others,
as "the right of the story teller, the poet, and the artist."
-
- Nathaniel Hawthorne, A Wonder Book for Girls and Boys,
and Tanglewood Tales
- Boston and New York: Houghton, Mifflin and Company, 1900
- Illustrated by Howard Pyle
- Collection of Brandywine River Museum Library
-
- First published in 1851, Hawthorne's version of Greek
myths includes such classics as "The Story of Midas and His Golden
Touch," "Pandora's Box," and "The Adventures of Hercules."
Hawthorne re-wrote the stories in a tone that pleased him because he said
that translations had "the classic coldness which is as repellant
as the touch of marble." The publishers proclaimed further improvements
to the classic tales by making them "purified from all moral stains,
[and] re-created as good as new, or better, and fully equal, in their way
to Mother Goose." This approach is typical of nineteenth-century belief
that one could borrow from the past and improve it.
-
- Clement Laurence Smith, ed,
- The Odes and Epodes of Horace,
vol 1. Boston: The Bibliophile Society, 1901
- Illustrated by Howard Pyle and William Bicknell
- Collection of Brandywine River Museum Library
-
- Pyle's illustrations were reproduced as etchings for
the publication by William Bicknell. Pyle and Bicknell were both members
of the Bibliophile Society.
-
- [CASE 3]
-
- William Dean Howells, Stops of Various Quills
- New York: Harper & Brothers, 1895
- Illustrated by Howard Pyle
- Collection of Brandywine River Museum Library
-
- Howard Pyle and Howells had a lively correspondence on
philosophical and religious matters, and their partnership in this project
reveals their like-mindedness. Pyle presented Howells with the original
illustration of the Sphinx that appeared in the book. That same work also
served as the basis for Pyle's illustration for Ellen M.H. Gates' The
Body to the Soul published in 1900, which is shown elsewhere in this
exhibition.
-
- Edwin Markham. The Man with the Hoe and Other Poems,
- New York: Doubleday and McClure, Co., 1900
- Illustrated by Howard Pyle
- Collection of Brandywine River Museum Library
-
- Edwin Markham's poem The Man with the Hoe was
inspired by French artist Jean François Millet's (1814-1875) oil
painting of a down-trodden farmer, L'homme à la Houe, 1863
(Collection of the J. Paul Getty Museum). When the poem was first published
in the San Francisco Examiner in 1899, it became a rallying cry
about poverty and exploitation of the working class. In its time it was
the most commercially successful poem ever published and was required reading
for generations of school students. The work even inspired a "Hoe-Man"
symposium organized by social reformers, clerics, and teachers soon after
its publication.
-
- This and other poems by Markham were published in book
form with Pyle's illustrations in 1900. In homage to Millet's painting,
Pyle's frontispiece illustration depicts a poorly-clad, barefoot man with
a staff. A figure draped in black holds a crown of thorns over the man's
bent head. This image symbolizes the poor and oppressed as religious martyrs.
-
- Reproduction
- Jean François Millet (1814-1875) L'homme à
la Houe, 1863
-
- This painting was the inspiration for Edwin Markham's
poem, The Man with the Hoe, and Pyle's frontispiece illustration
for the book.
-
- Ellen M. H. Gates, "The Body to the Soul"
- Harper's New Monthly, August,
1899
- Illustrated by Howard Pyle
- Collection of Brandywine River Museum Library
-
- Howard Pyle, The Wonderclock
- New York: Harper & Brothers, 1888
- Collection of Brandywine River Museum Library
-
- Many of the illustrations in The Wonderclock reveal
Pyle's reference to German Renaissance artist Albrect Durer's prints and
drawings. This particular illustration is unusually close in its quotation
of Dürer's woodcut, Knight on Horseback and Lansquenet, 1496-97.
-
- Reproduction
- Albrecht Dürer (German, 1471-1528), Knight on
Horseback and Lansquenet, 1496-97
-
- [CASE 4]
-
- Henryk Sienkiewicz, Quo Vadis
- Boston: Little, Brown and Co., 1897
- Illustrated by Howard Pyle
- Collection of Brandywine River Museum Library
-
- Historical novels and short stories became popular reading
during the American Renaissance. One of the most famous novels was Polish
novelist Henryk Sienkiewicz's two-volume tome, Quo Vadis, which
depicts the persecution of Christians in first-century Rome during Nero's
reign. The story first appeared in Poland in 1895 and was published in
Boston by Little, Brown and Co. the following year with Pyle's illustrations.
-
- Rufus B. Richardson, "The New Olympic Games"
- Scribner's Magazine,
September 1896
- Illustrated by Corwin Knapp Linson
- Collection of Brandywine River Museum Library
-
- This article on the Olympic Games in Greece appeared
in Scribner's Magazine the year before Pyle created his illustration,
Peractum Est! for Henryk Sienkiewicz's, Quo Vadis. The similarity
of composition and placement of figures makes it clear that Pyle must have
used this image as a resource for his painting.
-
- The Eclogues of Vergil, Baron
Bowen, trans. Boston: Privately printed by Nathan Haskell Dole, 1904
- Collection of Brandywine River Museum Library
-
- [CASE 5]
-
- Kenyon Cox, "Maying"
- The Century Magazine, June
1884
- Illustrated by Kenyon Cox
- Collection of Brandywine River Museum Library
-
- Howard Pyle, Otto of the Silver Hand
- New York: Charles Scribner's Sons, 1888
- Private collection
-
- Thomas Frognall Dibden's The Bibliomania or Book Madness,
History, Symptoms, and Cure of this Fatal Disease
- Boston: The Bibliophile Society, 1903
- Collection of Brandywine River Museum Library
-
- E.H. and E.W. Blashfield, "Castle Life in the Middle
Ages"
- Scribner's Magazine, January
1889
- Collection of Brandywine River Museum Library
-
- William Caffin "American Illustration of To-Day"
- Scribner's Magazine,
January 1892
- Collection of Brandywine River Museum Library
-
- Caffin's article was the first in a series on illustration.
He describes illustration's roots in ancient art and its development in
the art of the Italian Renaissance.
-
- [CASE 6]
-
- Kenyon Cox, "Augustus Saint-Gaudens"
- The Century Magazine, November
1887
- Collection of Brandywine River Museum Library
-
- Kenyon Cox, "Sculptors of the Early Italian Renaissance"
- The Century Magazine, November
1884
- Collection of Brandywine River Museum Library
-
- Augustus Saint-Gaudens (1948-1907)
- Head study for Victory, 1902
- Bronze
- Collection of the Saint-Gaudens National Historic Site
-
- Saint-Gaudens sent Pyle a plaster cast of the head of
Victory. The whereabouts of that cast is unknown. The plaster version
and a bronze cast were both studies for the figure of "Victory"
on Saint-Gaudens' Sherman Monument of 1903, which now stands in
Central Park in New York. In a letter of January 2, 1902, Pyle wrote:
-
- Your most beautiful gift - the head of Victory - reached
me safely
- today. I shall regard it as one of the treasures of my
life. . . . have always
- admired your work extremely - have always considered
you as a
- representative of that steadfast and lofty effort toward
an Art that cannot
- condescend to tricks and effects to catch the eye, but
that speaks with a
- deeper intonation to the hearts and souls of men.
-
- N.C. Wyeth noted the plaster head study and its importance
to Pyle in a letter to his mother of October 29, 1905:
-
- Mr. Pyle has gone to Chicago today to lecture, etc. Enclosed
you
- will find a photo of him. The cast is a head St. Gaudin's
[sic] gave
- him. He had a photo taken of it so as to use it in an
illustrated lecture
- in Chicago and Milwaukee. He considers the piece of sculpture
- (original study for the figure of "Victory"
on the Sherman Statue, N.Y.) a
- masterpiece.
-
- Augustus Saint-Gaudens (1848-1907)
- Stevenson Memorial Plaque,
1899-1903
- Bronze
- Collection of the Saint-Gaudens National Historic Site
-
- In 1887, Saint-Gaudens modeled a portrait of the Scottish
writer, Robert Louis Stevenson. The model was used to create two relief
portraits containing a poem by Stevenson. After Stevenson's death in 1894,
the sculptor revised an earlier relief by replacing the poem with a prayer.
In a gesture of friendship, Saint-Gaudens sent Pyle a reduction of the
memorial. This bronze is similar to the one Pyle received, although the
location of his copy is now unknown.
-
- [CASE 7]
-
- Olivia Howard Dunbar, "Peire Vidal-Troubadour"
- Harper's New Monthly, December
1903
- Illustrated by Howard Pyle
- Collection of Brandywine River Museum
-
- Andrew Lang, "The Comedies of Shakespeare with illustrations
by E. A. Abbey, XI, 'Two Gentlemen of Verona'"
- Harper's New Monthly, December
1893
- Collection of Brandywine River Museum Library
-
-
- [SCULPTURE CASE 1]
-
- Jean-Léon Gérôme (1824-1904)
- Retiarius, circa 1859
- Bronze
- Collection of the Phoenix Art Museum, Museum purchase
-
- Jean-Léon Gérôme (1824-1904)
- Mirmillo, circa 1859
- Bronze
- Collection of the Phoenix Art Museum, Museum purchase
- These bronzes were cast from the artist's wax studies
for Pollice Verso. The bronzes were first exhibited at the Paris
International Exhibition of 1878.
-
- [SCULPTURE CASE 2]
-
- Augustus Saint-Gaudens (1848-1907)
- Victory, 1892-1903
- Gilded Bronze
- Collection of Carnegie Museum of Art, Pittsburgh, Purchase,
19.5.2
-
- Augustus Saint-Gaudens's studies at the École
des Beaux-Arts and his travels through Rome helped him formulate the delicate
modeling of sculptures based on Italian Renaissance models. He was among
the first American artists to work in the American Renaissance style. His
work was respected highly for its personal interpretation of the Italian
Renaissance, for its individual expression of figures, and delicate its
modeling.
-
- The winged female figure of Victory is based on
the mythic Greek and Roman messenger who crowned victorious athletes and
poets. The statue was created for the Sherman Monument begun in
1892 and completed in 1902. Saint-Gaudens' allegorical figure proudly strides
ahead of the naturalistic, equestrian portrait of Civil War General Sherman.
This figure is one of eight known reductions of the original authorized
by the artist's widow and cast after 1912.
-
(above: Howard Pyle (1853-1911), Peractum Est! (1897),
oil on canvas, illustration for Henrik Sienkiewicz, "Quo Vadis,"
Boston: Little Brown and Company (1897), collection of the Delaware Art
Museum, gift of Mrs. Richard C. du Pont [1965])
(above: Edwin Austin Abbey (1852-1911), Who is Sylvia? What
is she, that all the swains commend her? (1899-1900), oil on canvas, Corcoran
Gallery of Art, Washington D.C., William A Clark Collection)
(above: George Willoughby Maynard (1843-1923), Sappho
(circa 1888), oil on canvas, courtesy of the Pennsylvania Academy of the
Fine Arts, Philadelphia, Joseph E. Temple Fund.)
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