Between 1830 and 1930 there was a huge expansion in the publishing industry. Through a series of industrial leaps, the publishing industry became an ideal medium for both innovation and expression. The combination of the development of a train network as well as the mass production of paper products allowed for greater distribution of published products. Not only that, but the invention and use of the printing press greatly influenced the accessibility of the publishing industry. As a result, the markets for published products expanded and diversified. During this explosion, publishers began to recognize the marketability of illustrated books. Illustrations extended the meaning of the words written on the page and illuminated the messages conveyed by the author. Subsequently, the cascade of events that led to the eruption of the field of publication also lured in the interest of artists curious about their potential role in the expansion. The careers of both Harry Clarke and Jack B. Yeats reveal the intricate relationship Irish artists possessed with their work, and the techniques that helped to ensure their success. Both Clarke and Yeats became attracted to book illustration for similar reasons. Book illustration was a medium in which artists were given full control over their own work. Their products were not only original, but they promoted ideas and art forms integral to the specific artist who produced them. The author of the text that required illustration selected the artist. Therefore, if an artist was approached about illustrating an author’s text, they were being granted the autonomy to interpret the text in their own artistic style. This meant that if an author was unhappy with an artist’s illustrations, it was their c... ... middle of paper ... ...bout artist who created them. Irish artists were attracted to book illustration because it was dynamic and meaningful. The illustrations they generated were animated with the enthusiasm generated from a celebration of culture and imagination. The joining together of literary work with illustration resembled a fusion of two valuable art forms that changed the nature of the international artistic world. Artist autonomy brought with it new styles and ideas that helped to not only enhance Irish culture, but also to enrich the publishing industry. Works Cited N. Gordon Bowe, Harry Clarke: His Graphic Art (Mountrath, 1983) A. Griffith, 'Impressions: Jack Yeats' approach to fine art publishing', in Y. Scott, ed., Jack B. Yeats: Old and New Departures, (Dublin, 2008) J. Shelborne, British Wood engraving Book Illustration 1904-1940: A Break With Tradition (London, 2007).
This shows how bold and captivating the unique appearance of the book was; it contained only an illustration and name, without the boasting of achievements. Imagery played a key role in
The graphic essay “Show and Tell” by Scott McCloud is written in the form of a comic book as he explains the importance of words and images, and how to effectively use the two components when creating a comic. “Show and Tell” explains to the reader how creating a successful comic does not occur easily, as numerous components must be used in the right way and amount in order to create a product that is worthwhile to its readers. This insightful graphic essay portrays to the reader how in a comic, words and images can successfully be used in numerous ways if they are kept in balance with one another. Society traditionally believes that in a piece of literature words and images should be kept apart, whereas McCloud opposes this
The question of whether or not an author can claim that his or her work is original has been in debate for many years now. This, compounded with the question of whether or not an author can adequately understand or express his or her own work or if the interpretation and understanding belongs in the hands of the readers or the critics, has placed the role of the author under serious scrutiny. This is especially noticeable in an age where so many works of literature are analyzed and critiqued by every reader and critique before turning the work into a movie or play, causing it to be further analyzed and discussed. Therefore, the purpose of this paper is to examine the various concepts of the author’s role, originality, and intent, using the graphic novel The Crow by James O’Barr as an example of a work of literature.
The Great Gatsby, used its own, unique creative language to attract readers attentions in many ways. For one, the cover design has become iconic for its bright blue background and simple yet abstract artwork, that, in its own way tells the story of Gatsby. But, aside from the visual means of using creative language, the author himself used his own style of creative language to keep readers engaged throughout
There is a great deal of critical influences which John Tenniel brought to the field of illustration and to explore this, one must look into his work and his life to acknowledge how this impacted on Illustration and society in general.
Read, Hebert Edward, Sir. Discovering Art: The Illustrating Story of Art Through the Ages. Vol.
The word “original” is often used to describe paintings that have been manufactured by hand, but it is not clear whether hand-made copies of work are still considered so. When an artist copies another’s art, is his own art original now that it has been tainted by the thoughts’ of others? The poem “To A Mouse” by Robert Burns served as inspiration for John Steinbeck when writing the famed tragedy “Of Mice and Men.” Steinbeck, a Nobel prize-winning author, set many of his books during the Great Depression or the California Dustbowl, times when the future seemed bleak. In Of Mice and Men, man-child Lennie and his “father figure” George form an unsuspecting friendship, and set off into the world with their dreams of one day buying land and settling down. The characteristics of these protagonists are directly taken from the Burns’ poem, which describes similar characters. Is such a close emulation detrimental to the value of originality in the work? Steinbeck believed that “only through imitation do we develop toward originality,” a motif seen in Of Mice and Men. Inspiration is necessary for all art, but by exploiting Burns’ poem, Steinbeck bastardizes the innocence of originality.
At the beginning of the nineteenth century, political discomfort had spread over France, and posters became the dominant aspect of visual philosophy in Paris. (MiR appraisal Inc. (2011) Father of the modern poster: Jules Cheret) Posters were an expression of economic, social and cultural life, competing for entertainment audiences and goods consumers (Jeremy Howard (1996), Art Nouveau: The myth, the modern and the national, Manchester University press, The Art poster From Graphic art to design 1890 to 1914). Furthermore, poster design was an outlet for the innovative energies of gifted artists (David Raizman (2003), History of Modern design, Art Nouveau and Cheret, Lawrence King, London, P.56). This was apparent because of the progression and transformation of technology, such as colour lithography.
William Butler Yeats was born on June thirteenth, eighteen sixty-five, at ten-forty pm, in Sandymount, Dublin (Foster, 13). He grew up lanky, untidy, slightly myopic, and extremely thin. He had black hair, high cheek bones, olive skin, and slanting eyes (Foster, 34). It was presumed he was Tubercular. As a child he was ridiculed, mainly because of his Irish heritage (Foster, 16). He accomplished many things in his life time.
Keats, John. John Keats – The Major Works. Ed. Elizabeth Cook. Oxford: Oxford University Press, 1990.
Yeats, W. B. The Wild Swans at Coole. New York: The Macmillan Company, 1919; Bartleby.com, 1999.
Keats, John. “Letters: To George and Thomas Keats.” The Norton Anthology: English Literature. Ninth Edition. Stephen Greenblatt, eds. New York: W.W. Norton & Company, 2012. 967-968. Print.
Aesthetics is the philosophy of art. By appreciating the value of aesthetics, one can comprehend the meaning of the abstract notion of beauty. In James Joyce’s novel, A Portrait of the Artist as a Young Man, Stephen Dedalus’ perception of aesthetics is a key component in the main character’s pursuit of individuality and purpose. Through the use of literary techniques such as diction and tone, Joyce conveys the protagonist’s aesthetic development. This artistic growth, paralleled throughout the novel’s external structure with Dedalus’ coming of age, illustrates the life, purpose and aesthetic ambition of an artist: “To discover the mode of life or of art whereby the spirit can express itself in unfettered freedom” (Joyce 231).
James Joyce's A Portrait of the Artist as a Young Man presents an account of the formative years of aspiring author Stephen Dedalus. "The very title of the novel suggests that Joyce's focus throughout will be those aspects of the young man's life that are key to his artistic development" (Drew 276). Each event in Stephen's life -- from the opening story of the moocow to his experiences with religion and the university -- contributes to his growth as an artist. Central to the experiences of Stephen's life are, of course, the people with whom he interacts, and of primary importance among these people are women, who, as his story progresses, prove to be a driving force behind Stephen's art.
Roe, Nicholas. John Keats and the Culture of Dissent. Oxford: Oxford University Press, 1998. Print.