For my money, Howard Pyle’s illustrations for his 1903 book, The Story of King Arthur and His Knights, were among the finest pen-and-ink illustrations of his career, which, of course, makes them some of the finest pen-and-ink illustrations of all time.

I scanned the following images from a library discard book that I bought a week or two ago at the local thrift store; the stain on the first image is from the glue that holds the circulation-card pocket in place on the other side of the page. Fortunately, the rest of the images were undamaged, though it was, at times, difficult to press the book down sufficiently to avoid focus problems near the gutters.

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P.S. I’ve long thought that Pyle’s portraits of King Arthur, Uther Pendragon, etc., were the inspiration for the portraits of King Arthur, Queen Ginevere, Sir Launcelot, Merlyn Ambrose, Elaine of Shalott, and Sir Galahad, contained in the minature Gorblimey Press portfolio, Excalibur: Six Drawings by Barry Windsor-Smith.

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ABOVE: Howard Pyle, An Attack on a Galleon (c. 1905).

reed-crandall_piracy-v1n3-feb-mar-1955

ABOVE: Reed Crandall, cover, Piracy #3 (February-March 1955).

Piracy, indeed…

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See also: Connections: Pyle, Wyeth, Frazetta

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As I was a-wanderin’ the Web for pleasure, I spied an illustration I thought looked familiar…

If it’s an homage, then Smith should be delighted someone recognized the reference, right?

BONUS LINK:

Adrian Smith, Illustrator

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Frazetta’s obvious borrowing from Pyle has been pointed out many times in the past; however, I’ve never seen anyone add Wyeth’s painting to the mix (although surely someone has, the line of influence being so clear). Now, of the three galleon paintings, it seems obvious to me that Pyle’s original effort is not only the first but also the best of the three. It’s the best composed; it’s the most expressively painted; it’s the most dramatic. No wonder Wyeth and Frazetta (who seems to me to have borrowed as much from Wyeth’s galleon as from Pyle’s) were enthralled by Pyle’s Attack on a Galleon. It’s a masterpiece. And which of the remaining two galleon paintings is the weakest, Wyeth’s picturesque, chocolate-box cliché or Frazetta’s virtuosic but underdeveloped pastiche? You decide…

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