Joseph Pennell: Paris and Whistler

"Le Stryge" by Joseph Pennell

"At the end of the winter of 1893, the large London Exhibitions disposed of, Joseph Pennell set off early in May on his summer's wanderings. I went with him as far as Paris, in company with the usual group of London critics, artists and writers who made the journey together for several years: Bob [R.A.M.] Stevenson, D.S. MacColl, Charles Whibley, Charles Furse, Henry Harland, Robert Ross, Beardsley - everyone of them disposed to discuss, to argue, to wrangle over every picture of promise of accomplishment in the two Salons. All the way along the Quais, or in the bâteau-mouche, to the Champ-de-Mars, it was talk. In front of every painting, every sculpture, every drawing that attracted their attention, it was talk, their best apéritif before the midday breakfast.

The history should be written of the Paris of the Nineties, so much more alive than London, so quivering with experiment, so rich in production. And talk was renewed over the good dinner, over the gay visits to the Chat Noir, Mirliton, the Tréteaux de Tabarin, the Moulin Rouge, with the famous La Goulue or the Scala with Yvette Guilbert and her long black gloves. 

The spring of 1893 contributed a new delight, our friendship with Whistler at last established on a solid basis. We breakfasted and dined with him in the Rue du Bac, climbed the stairs to his high studio in the Rue Notre-Dame-des-Champs. Whistler asked him to come and help bite and print plates that were waiting, an invitation much to Pennell's fancy. He was hours with Whistler in the garden of the Rue du Bac biting plates, hours in the studio at the press. He got out his own plates, etched the large 'Stryge' and the series of little gardens, cafés, streets, brasseries. He was glad to find relief from easier problems than the cathedral drawings gave him, and rest his eyes in the study of simpler, less exacting details, by a light not quite so religious and dim.

He suggested an article to Robert Johnson at the 'Century': 

'What do you say to my staying here all the time save August when I shall do Laon - and making a series of little etchings in the streets of Paris like the James article on London. The place interests me enormously - and I should like to do it. Again Whistler is very chummy just now - and I am going to work in his studio and help print - and he has offered to help me bite my plates and I think I could get him to let you have one or two of his. Really I could get some stunning stuff here - and its quite new and fresh for me... Mrs. Pennell could write the article - or someone else. Please let me do it?' 

To be continued

(Excerpts from "The Life and Letters of Joseph Pennell" by Elizabeth Robins Pennell.)  

Joseph Pennell: "The French Cathedrals"

"The Cathedral of Le Puy from the North"
by Joseph Pennell

"Joseph Pennell, who had just finished a series on the English cathedrals for 'The Century Magazine,' was asked to begin a second of the great church of France. The work, before it came to an end, carried us north and south, east and west, from one cathedral town to another. It kept us in each sometimes for weeks, sometimes for months. It spread over eighteen years, so that we got to know them all with an intimacy that visiting them for pleasure alone could never have given us.

Our choice of cathedrals and the order of our visiting them depended upon a scheme carefully prepared, though not by ourselves.  Mrs. Van Rensselaer, who had written a book on the English cathedrals, planned this second one on the French, with reference entirely to her own interest in the subject and the value of the examples she selected in the history of architecture. After the first few chapters, however, she abandoned the work, and as I had been to the cathedrals with Joseph, who was making the drawings in the order she suggested, I undertook it in her place. As it was planned according to architectural history, it was the cause of our seeing a great deal more of France and learning a great deal more about its cathedrals than we might had we followed the more direct lines of travel."

It is interesting to note that the change of writers for this book was actually due to a disagreement between author and illustrator. "Early on in the project Mrs. Van Rensselaer had written to W. Lewis Fraser of the 'Century' art department, reviewing Pennell's drawings. While on the whole she was pleased, she found problems with the cathedrals in Angoulême and Périgueux and the St. Sernin church in Toulouse.

Pennell had not supplied exterior views of any of the three that she found acceptable. Of St. Sernin she wrote 'In some way or the other I must have at least one picture of the exterior of the church; if not from Mr. Pennell, then drawn by someone else from a photo.' In other cases Pennell had supplied views she hadn’t asked for; several of these she had turned down as 'entirely useless for my purpose.'

In Pennell’s letters back, he referred to his practice of using shading and other effects to ameliorate the problems posed by unsympathetic restoration and unfinished repairs, provocatively referring to this process as 'cooking.' Van Rensselaer responded by observing that he had been 'engaged to illustrate what he saw, not to make fancy sketches.'  Pennell defended 'my cooking or faking … [of] these drawings [by asserting] when I come to one of these old churches … and find, instead of beautiful stained glass which ought to be there, blank white windows, or windows at times which are even yet unfinished … I have got to intensify, for example, my lights and shadows and try to give some sort of pictorial effect which really is not there.' Pennell concluded his reply with the statement that 'I never should think of criticizing Mrs. Van Rensselaer’s scheme or methods, but I cannot help repeating that she ought to bear in mind that I cannot draw the ideas of the old men when their work is not visible.'" 

To be continued

(Excerpts from "French Cathedrals, Monasteries and Abbeys, and Sacred Sites of France" by Elizabeth Robins Pennell and "Correspondence Sheds Light on Illustrations for Articles by Landscape Design Critic Mariana Van Resselaer." 

 

Joseph Pennell: Pen Drawings

Edwin Austin Abbey

"Joseph Pennell's chief literary preoccupation during 1888 was his book, 'Pen Drawing.' In his introduction to the book, he laid out three primary reasons for its creation: 

'I believe that, just as none but the physician is allowed to speak with authority on medicine, none but the scientist on science, so only the man who has made and carefully studied pen drawings should have the right to speak authoritatively of them. Only the writing on art by one who has technical knowledge of it is of practical value.'

'Today pen drawing is not only an art in itself, but one which, as well as painting in oils, requires its own technical perfection.'

'For examples, I have selected the best work, so far as I have been able to find it, of all schools, and not merely of one narrow French, English, Italian, German, Spanish, or American method, the merits or shortcomings of which one would be unable to point out without using this comparative plan.'  But I am not without hope that the pen drawings published here will show many, who are pleased to call themselves pen draughtsmen, that they are without the faintest idea of the aims, objects and limitations of the art.'

Every day taught him more of his subject, and he tore up old chapters and wrote new ones in their place. Richmond Seeley was bent upon issuing the book but also afraid of it, uncertain how far and into what expense Pennell's enthusiasm would carry him. Finally he said it would be easy to find another publisher for such a book. 'Then find him,' was Pennell's ultimatum. And Seeley found the Macmillans and this was the beginning of a long and close relationship with the firm, and friendship with Mr. Frederick Macmillan. He was no less an enthusiast than Pennell and the book was under his personal supervision. He decided that to ensure its success - and a profit - it must be brought out on an elaborate scale at a large price.

Sure now of his publishers' active sympathy, Pennell's interest redoubled. If he wanted to reproduce drawings that had to be paid for and the publishers hesitated, he paid for them himself. He gathered pen drawings of the best quality for his book. He appealed to the 'Century' and the editors presented him with examples of Blum, Brennan, Farney, Lungren, and Birch. He was able to get original drawings of the 'Men of the Sixties.' He called on 'Punch,' and Menzels and Chodowieckis were brought out. He went to Paris and obtained pen drawings from Vierge, Rico and Casanova. He could not forget the debt he owed to the Spaniards, upon whose style his own was originally based, and found them not merely willing but eager to work with and for him. 

To the thinking public the book was a revelation. Few before thought of pen drawing as an art apart; few could deny its claim when confronted with so fine a series of examples. Artists like Edwin Austen Abbey and Parsons liked it well enough to buy it, which was to Pennell a great satisfaction."

To be continued

(Excerpts from "The Life and Letters of Joseph Pennell" by Elizabeth Robins Pennell and from "Pen Drawing and Pen Draughtsmen" by Joseph Pennell.) 

 

Joseph Pennell: Art Critic

"Bow Bells, Cheapside"
by Joseph Pennell

"At that time younger art critics, with the daring to think for themselves, began to be heard from. R.A.M. Stevenson, trained as an artist, was art critic for the 'Saturday Review' but abandoned it for the 'Pall Mall Gazette.' Charles Whibley, always volcanic, was writing for the 'Scots Observer.' Joseph Pennel on the 'Star was a third - a powerful third. He went into the work as he went into everything, heart and soul, determined to do his best. 

In art criticism, as in all other matters, that 'eighty obligation' which was Pennell's Quaker inheritance, forced him to speak the truth without fear or hesitation. He spoke the truth on what to him was the most serious thing in life and, in speaking it, he was trespassing on Academic preserves, regardless of the warning to keep off at the risk of Academic displeasure. To defy the Academy was to be cast into outer darkness, a rank outsider. Because of his art criticism he gradually became unpopular with the public and artists alike. 

Pennell did not mind. There were things he was determined to say because he felt they ought to be said. At times the editors grew nervous and used the editorial blue pencil. Once Marie Bashkirtseff's relations, wrathful I do not recall over what, made the Law Courts seem an imminent probability, but their wrath went no farther than threats. Once artist Walter Crane lost his temper, thinking qualified praise of the first Exhibition of the Arts and Crafts an insult, and in a newspaper letter waved a big stick at Pennell. But his temper, after blazing for a day, burned itself out, and the two men, really in sympathy, were on the best of terms until Crane's death. Some friends, it is true, dropped away, but friends of that kind were not worth keeping. 

The objection of a few was that his work as critic must interfere with his work as artist. On the contrary, as he never could be idle, never sit with hands folded. To the larger shows he would have gone in any case through interest. How little of a brake criticism was can be judged by the number and distinction of his illustrations during those years. He completed the Westminster Abbey drawings, large important architectural studies. Also a series on London, 'From Charing Cross to St. Paul's,' for Seeley. Henry James' wrote an article requiring more illustrations of London and inspired Pennell to get out his copper plates. Work for books were also a pleasant diversion: 'A Summer Voyage on the River Saône,' 'Our Sentimental Journey,' 'Christopher Plantin and the Plantin Museum,' and 'Old Chelsea,' brought out by the 'Century.' But his chief literary preoccupation was his 'Pen Drawing.'"

To be continued

(Excerpts from "The Life and Letters of Joseph Pennell" by Elizabeth Robins Pennell.)

Joseph Pennell: The Cathedrals

"St. Paul's from Cheapside"
by Joseph Pennell

In 1892 author Mrs. Schuler Van Rensselaer wrote: "Some years ago I was asked to write descriptions of twelve of the English cathedrals for 'The Century Magazine,' and was promised the invaluable help of Mr. Pennell's drawings. A summer in England was the immediate result, and the final result is this book." Twelve of Pennell's illustrations in her series of magazine articles had grown to one hundred and fifty-four for her book, and he spent far longer than 'a summer in England' to produce his beautiful pictures.

"The difficulty of illustrating these magnificent buildings well was teaching Pennell a great deal, and his drawings were growing more elaborate, more learned, more impressive. As his interest increased, he rebelled against the tedium of struggling with architectural perspective. His concern was the beauty of the architecture, not its technical problems, And yet, he believed that to express this beauty the technical problems must be mastered according to technical rules. 

But from the beginning, coming to Gothic fresh from the comparative simplicity of Colonial architecture, he was afraid to trust his extraordinary powers of observation. He turned to photographs and abandoned them promptly. They were of so little use that he gave them up altogether, except as notes or reminders, and then he did not trust them too confidently. He knew that Abbey relied upon architectural draughtsmen, he had heard that this was Doré's method also, and Alma Tadema's for his classical perspectives. 

A young architect, Charles Edward Mallows, proved to be his man. He had met him in his travels, had watched him at work, realized his ability, asked if he had time to spare. Mallows did and was glad to give it. Pennell would select his point of view, Mallows would prepare the perspective, and the drawing could be made without the preliminary mechanical labour that has little to do with the interpretation of beauty. Later Pennell wrote that if Mallows helped him with architecture, then 'I taught him how to draw it,' and in Mallows' large drawings of architecture Pennell's influence is unmistakable. Mallows was his first student and, like all his intelligent students, was devoted."

To be continued

(Excerpts from "The Life and Letters of Joseph Pennell" by Elizabeth Robins Pennell.)  

 

Joseph Pennell: A Canterbury Pilgrimage

Joseph and Elizabeth Pennell had returned to London from Italy to propose an idea for a book to be entitled, "A Canterbury Pilgrimage." As the first paragraph of their story explained: "It was towards the end of August, when a hot sun was softening the asphalt in the dusty streets of London, and ripening the hops in the pleasant land of Kent, that we went on pilgrimage to Canterbury. Ours was no ordinary journey by rail, which is the way latter-day pilgrims mostly travel. No. What we wanted was in all reverence to follow, as far as it was possible, the road taken by the famous company of bygone days, setting out from the hostelrie where these lordings lay one night and held counsel, making stations by the way at the few places they mention by name, and ending it, as they did, at the shrine of the 'holy, blissful martyr,' in the Canterbury Cathedral. How better could this be done than by riding over the ground made sacred by them on our tricycle?"

The 'Century' hesitated to accept it because so much Pennell material was already on hand or ordered. The 'English Illustrated' also refused, but Richard Seely, of Seeley & Company Publishers, was of another mind. He liked the drawings, said he would read the manuscript, and agreed to let us have his decision promptly. Within a fortnight we had it. 

He would bring out the 'Pilgrimage' as a book in a paper cover for a shilling, would have it on all the railway book stalls, would deluge England with it. Better still, he would bring it out immediately. Our excitement was great. Pennell spent hours in the British Museum studying old manuscripts, hunting up appropriate motives for cover design and chapter headings. He would not leave town until the proofs were passed.  By the thirty-first proofs of 'A Canterbury Pilgrimage' were passed for press. 

"A Canterbury Pilgrimage' was published while we were in Winchester, and in Salisbury we got our first notice the first morning when we opened the 'Daily News' and saw the headline, 'The Most Wonderful Shilling's Worth Modern Literature has to Offer.' If 'A Canterbury Pilgrimage' was an immediate success, as it was, this headline undoubtedly  helped to make it one. It appealed to two publics: to the cycling public at a period when cycling was the popular sport; to the scholarly public as a tribute to Chaucer and his Pilgrims. Moreover, paper covers were not as common in England as in France, and these, together with the unusual proportions and design of the book, made it conspicuous on railway bookstalls and in bookshop windows. The price, one shilling, attracted a larger public. Letters poured in upon us, from friends and strangers alike. We made a hit, no mistake, and it was great fun."

To be continued

(Excerpts from "The Life and Letters fo Joseph Pennell" by Elizabeth Robins Pennell.) 

 

Joseph Pennell: Cycling through Italy

Pennell's Drawing of Their Humber Tandem Tricycle

"The rainy season in England had set in - if there is any other sort of season in that rain-swept land - and so we started from London on the journey which was the immediate reason for our marriage. Luck was with us. The journey from the start was as perfect as Pennell had promised. His delight in getting back to Italy and sharing its loveliness with me was something to remember. We were awake early the second morning, from the train watched daybreak in the Apennines, looked out upon Pistoia as we circled round it, saw its picturesqueness come out of the mist, in Florence we dropped off our luggage, and, without pause, walked out to the places Pennell had longed to show me. 

Before leaving London we had purchased a Humber Tandem Tricycle and had brought it with us. Nothing marred the pleasure of the ride, the joy of seeing 'Italy from a Tricycle.' The roads were good and the names of the towns through which we wheeled and where we stayed were guarantees of beauty - Empoli, Siena, Monte Oliveto, Civita Castellana. The weather was beyond reproach, day after day of cool October sunshine. It was the most successful of the many beautiful journeys we were to take together. 

Idling was unknown - text and drawings for the story of our ride had to be finished, articles on the Christmas festivities in the Aracoeli and the Piazza Navona for 'St. Nicholas,' and our impressions of 'The Stones of Rome' for the 'Portfolio' had to be written and newspaper letters on whatever subjects presented themselves. No idling indeed - all that winter we worked hard by day. But when late afternoon came we took long prowls through the streets, into churches and galleries, out to the Compagna if the light lasted. When an article was finished, text and drawings posted to New York or London, or when the post brought us the November 'Century' with the first of Howells' 'Tuscan Cities' in it or of my biography on 'Mary Wollstonecraft,' we would eat the best lunch we could order and see the many sights in Rome we wanted to see. 

'Harper's" had approved an article on 'Venetian Fishing Boats.' The commission had us stay two long months. In the evenings, the artists' gathered around the dinner table at the shabby, noisy Antica Panada, where coffee was a few centessimi cheaper than on the Piazza. The centre of these gatherings was Frank Duveneck, in danger of being ruined as an artist by the charm of Venice, which had him in thrall. He had grown quite content to live in his attic at the Casa Kirsch, doing as little work as possible during the day, spending the evening with his 'boys' or their successors, and adding little save his smile to the talk. 

Torcello was a wilderness of flowers when reluctantly, we left Venice in May. We had been married all but a year, we had carried out many of our schemes, and success had been our portion."

To be continued

(Excerpts from "The Life and Letters of Joseph Pennell" by Elizabeth Robins Pennell.)