Newell Convers Wyeth illusztrációi

Közzététel dátuma: Feb 07, 2015 10:22:39 AM

Newell Convers Wyeth (1882–1945) (ismertebb nevén N. C. Wyeth) amerikai realista festő, Amerika egyik legnagyobb illusztrátora lett. Első munkái 1903-ban a Saturday Evening Post hasábjain láttak napvilágot. 1911-ben Robert Louis Stevenson A kincses sziget című könyvéhez készített illusztrációt. Ezen kívül Az őzgazda, a The White Company, a Robinson Crusoe, Az utolsó mohikán, a Kidnapped és a Robin Hood képeit is ő készítette. Élete folyamán háromezer képet festett és száztizenkét könyvet illusztrált. Abban a korban volt realista festő, mikor megjelent a festészet két nagy riválisa, a fényképezőgép és a kamera. Képei néha melodramatikusnak tűnnek, de az egyszerűség és a közérthetőség igényével készültek.

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Az Odüsszeiához 1929-ben készített illusztrációkat, szám szerint tizenhatot, a Houghton Mifflin Company kiadása számára.

"Despite his fame as an illustrator, Wyeth yearned to be known as a painter. The distinction between painting and illustration was an important one, with illustration carrying a pejorative connotation that Wyeth felt keenly all his life".

"The Odyssey commission allowed Wyeth to engage his fullest imaginative powers: he was unfettered, in a sense, by facts. In this, he joins the ranks of artists who have found in Homer's fantastic Odyssey an easel for their most fantastic impulses. After an exhibit in Wilmington in 1930, Wyeth declared that his Odyssey paintings were his finest in 25 years as an illustrator but a popular and even scholarly penchant for pigeonholing Wyeth as an artist of the American West has resulted in the almost complete neglect of his work on Homer. In the Odyssey illustrations, Wyeth is at leisure to be both playful and incredibly learned; his illustrations tap into tropes of canonical European art while innovating some startlingly 'American' reimaginings of the Odyssey narrative. Obviously, Wyeth's illustrations of The Deerslayer and

Treasure Island will remain canonical, in part because of their meticulous recreation of both material data and the narrative details. Homer's fantastic world, however, offered Wyeth a chance to illustrate in a more whimsical vein, both tying the Odyssey to established patterns of European iconography while gesturing towards contemporary developments in American art" (Jenkins: Between Worlds Old and New: N. C. Wyeth's Odyssey illustrations).

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