100 Favorite Illustrations from Collier's Magazine, 1898-1914: by Gibson, Parrish, Remington and Others
112
100 Favorite Illustrations from Collier's Magazine, 1898-1914: by Gibson, Parrish, Remington and Others
112eBook
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Overview
This volume presents the best color and black-and-white images from two rare portfolios, originally printed in 1908 and 1914. Featured artists include Charles Dana Gibson, whose contract with Collier's made his "Gibson Girl" a fixture in American culture, and Maxfield Parrish, who created many illustrations and covers for the magazine. Additional contributors include Howard Pyle, Jessie Willcox Smith, J. C. Leyendecker, Frederic Remington, and other noteworthy American artists of the early twentieth century.
Product Details
| ISBN-13: | 9780486840574 |
|---|---|
| Publisher: | Dover Publications |
| Publication date: | 06/12/2019 |
| Series: | Dover Fine Art, History of Art |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 112 |
| File size: | 106 MB |
| Note: | This product may take a few minutes to download. |
About the Author
Read an Excerpt
FOREWORD
At the dawn of the twentieth century, the newspaper may have delivered the stories of the day, but it was early magazines that provided the greatest media entertainment to a household. Longer running stories, and better quality paper, pictures, and printing gave the magazine an advantage to hold attention and develop a following. During the early days of that era, the individuals who could fabricate images for the magazines became extremely influential and favored. This is why it is known as the Golden Age of Illustration. There were a number of publications during this heyday that had lasting effects on the culture that absorbed them, and their influence is still felt over a century later. Magazines such as Harper's, The Century, and Scribner's were among the leading periodicals of the day, as was Collier's.
Founded in 1888 by Peter Fenelon Collier (1849–1909), Collier's was a magazine that impacted America's readers from 1888 until 1957. One of the things it did best was to deliver imagery by the top illustrators of the day. Peter F. Collier and, later, his son, Robert J. Collier, had a good eye for art that was a step above the crowd. They also understood the importance that art brought to the sales of their product, and they weren't hesitant with their financial support.
Collier's weekly readers became very familiar with the the work of two artists who later became icons; their work represented major stages in visual communication. Charles Dana Gibson was, by and large, the most popular illustrator in America for nearly two decades. From roughly 1890 to 1905, line art was king in publishing, and Gibson was royalty. Peter Collier recognized how Gibson had captivated the public's interest, and he signed him to a four-year contract worth a princely $100,000 in 1903. A year later, Collier recognized the genius in a young Maxfield Parrish, and he was signed to an exclusive contract for six years. This kind of awareness for talent and quality helped make Collier's a leader in the publishing of visual works, and the business drew the best illustrators toward it like moths to a flame.
Peter Collier saw illustration as an American art form. With American technology and economy leading the field in the early twentieth century, Collier's was at the forefront of that, and Collier saw the illustrators that worked for him as the best artists of the day. The role of art in publishing confused the art world — and for many generations, choosing to work in a form that was commissioned and published removed it from the inspiration of the artist, hence separating art from illustration. Collier, however, did not see it that way. He felt the illustrator was the next progression for great representational art, and he wanted it to be a major part of his magazines. Not only did he acquire it for his publications, but he promoted it — as art — as well.
In 1908, and again in 1914, Collier's published large-format collections of curated images from the magazine. Both father and son were confident in their assessment of the public's artistic appreciation of the work and the acceptance of these images as art. How it may have been received is hard to assess now, but it is both relative to the time and of varied opinions. More than a century later, there are works in this collection that have largely been forgotten, drawn by artists who have become little more than footnotes to history. On the other hand, there are works that have seen their original worth increased a thousandfold, by artists who have been displayed in major art museums today, with vastly increasing popularity. As with any curator, there has been agreement and disagreement along the way. What remains is that Collier's was on to something. Peter Collier and Robert Collier saw themselves as patrons of an art form, and they understood there was both an audience for the material and a value to it.
In your hands is a selection of those same early images from the 1908 and 1914 publications. There is some humor, some history, and some beauty in what these plates have to offer. The best ones can offer all of those things and can be appreciated as much today as they were when they were first introduced as fresh ink on the magazine stand.
Jeff A. Menges December 2018
(Continues…)
Excerpted from "100 Favorite Illustrations from Collier's Magazine, 1898–1914"
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Table of Contents
Plate 1 Marguerite Penrhyn Stanlaws,
Plate 2 Reflections Z. P. Nikolaki,
Plate 3 The Eternal Question Charles Dana Gibson,
Plate 4 Felice Z. P. Nikolaki,
Plate 5 Gladys J. Knowles Hare, Jr.,
Plate 6 The Last Match A. B. Frost,
Plate 7 Diplomacy A. B. Frost,
Plate 8 The Herder Philip R. Goodwin,
Plate 9 The Cow Puncher Frederic Remington,
Plate 10 The Lost Quarry Philip R. Goodwin,
Plate 11 The Struggle Philip R. Goodwin,
Plate 12 Huntsman Edward Penfield,
Plate 13 The Trick Bear Philip R. Goodwin,
Plate 14 The Weaker Sex Charles Dana Gibson,
Plate 15 Her Infinite Variety Harrison Fisher,
Plate 16 No Time for Politics Charles Dana Gibson,
Plate 17 A Chapter from the Bible Albert Sterner,
Plate 18 Snow Bird Penrhyn Stanlaws,
Plate 19 Let 'er Snow H. Willard Ortlip,
Plate 20 The Critical Moment W. T. Smedley,
Plate 21 The Nation-Makers Howard Pyle,
Plate 22 The Dreadnought Division Henry Reuterdahl,
Plate 23 Her Last Port William James Aylward,
Plate 24 The Longshoreman Thornton Oakley,
Plate 25 The Fleet Passing Through Magellan Straits Henry Reuterdahl,
Plate 26 Polar Bear Edward Penfield,
Plate 27 Golf Edward Penfield,
Plate 28 Beauty and the Beast Jessie Willcox Smith,
Plate 29 Goldilocks and the Three Bears Jessie Willcox Smith,
Plate 30 The Child of Her Dreams Albert Sterner,
Plate 31 Saint Cecilia A. B. Wenzell,
Plate 32 The Organ Grinder Frank X. Leyendecker,
Plate 33 The Lost Tooth Charles A. MacLellan,
Plate 34 The Monarch A. B. Frost,
Plate 35 Supper A. B. Frost,
Plate 36 A Tempered Wind Jessie Willcox Smith,
Plate 37 The Helper Jessie Willcox Smith,
Plate 38 Billy Boy Jessie Willcox Smith,
Plate 39 Phoebe Penrhyn Stanlaws,
Plate 40 The Young King of the Black Isles Maxfield Parrish,
Plate 41 Pandora Maxfield Parrish,
Plate 42 Queen Gulnare Maxfield Parrish,
Plate 43 Pierrot's Serenade Maxfield Parrish,
Plate 44 The Lovers' Quarrel A. B. Wenzell,
Plate 45 Washington's Birthday Arthur I. Keller,
Plate 46 The Captain's Christmas Dinner Henry Reuterdahl,
Plate 47 The Breeches Buoy William James Aylward,
Plate 48 The Cotillion Howard Chandler Christy,
Plate 49 O Come, All Ye Faithful Arthur I. Keller,
Plate 50 Under the Venice Moon Louis Loeb,
Plate 51 Bluebeard's Wife Sarah S. Stilwell,
Plate 52 On the Way to the Philippines Henry Reuterdahl,
Plate 53 Lost Off the Banks William James Aylward,
Plate 54 The Attack Frederic Remington,
Plate 55 A Spanish Escort Frederic Remington,
Plate 56 Ready for a Spin Harrison Fisher,
Plate 57 Pay Day J. C. Leyendecker,
Plate 58 American Beauties Albert Sterner,
Plate 59 A Friendly Game Jessie Willcox Smith,
Plate 60 A Belle of the Olden Time Howard Chandler Christy,
Plate 61 How Pleasant It Is to Have Money Harrison Fisher,
Plate 62 Off to School W. T. Smedley,
Plate 63 The Morning Stroll Edward Penfield,
Plate 64 Atlas Maxfield Parrish,
Plate 65 Centaur Maxfield Parrish,
Plate 66 Serious Business Charles Dana Gibson,
Plate 67 A Castle in the Air Charles Dana Gibson,
Plate 68 The Squall Frederic Remington,
Plate 69 Coming to the Call Frederic Remington,
Plate 70 A Two Pounder A. B. Frost,
Plate 71 The Landing Net Frederic Remington,
Plate 72 Politics A. B. Frost,
Plate 73 The Good Book A. B. Frost,
Plate 74 Their First Quarrel Charles Dana Gibson,
Plate 75 The Parting Wall Charles Dana Gibson,
Plate 76 Calling the Moose Frederic Remington,
Plate 77 A Canadian Lake Frederic Remington,
Plate 78 Caught in the Circle Frederic Remington,
Plate 79 The Rendezvous Frederic Remington,
Plate 80 The Buffalo Runners Frederic Remington,
Plate 81 The Shadows at the Water Hole Frederic Remington,
Plate 82 Midsummer Evening Louis Loeb,
Plate 83 The Young Widow Henry Hutt,
Plate 84 Which? Charles Dana Gibson,
Plate 85 A Picnic on the Beach Harrison Fisher,
Plate 86 The Obstinate Juror Orson Lowell,
Plate 87 A Flaw in the Title A. B. Frost,
Plate 88 Getting Even A. B. Frost,
Plate 89 The Sick Cow A. B. Frost,
Plate 90 At the Seventh Tee A. B. Frost,
Plate 91 Fishing Off Long Point A. B. Frost,
Plate 92 Buying Polo Ponies in the West Frederic Remington,
Plate 93 A Close Game A. B. Frost,
Plate 94 Sea Nymphs Maxfield Parrish,
Plate 95 The History of Codadad and His Brothers Maxfield Parrish,
Plate 96 Cassim in the Cave of the Forty Thieves Maxfield Parrish,
Plate 97 Bellerophon Watching by the Fountain Maxfield Parrish,
Plate 98 Aladdin Maxfield Parrish,
Plate 99 Cadmus Sowing the Dragon's Teeth Maxfield Parrish,
Plate 100 On the Road to Mandalay Frank X. Leyendecker,