Illustrator of the Week: John Schoenherr

Dune

John was raised in Queens where he used drawings to communicate with speakers of other languages within his polyglot neighborhood.  Later he went to Pratt University.

Schoenherr may be known best as the original illustrator of the dust jacket art of Dune,[6] a 1965 science fiction novel by Frank Herbert that inaugurated a book series and media franchise.[7] He had previously illustrated the serializations of the novel in Analog, an endeavor which secured him a 1965 Hugo Award for Best Professional Artist.[6][8] He later did the art for the Analog serialization of Herbert’s Children of Dune.[6] In 1978 Berkley Books published The Illustrated Dune, an edition of Dune with 33 black-and-white sketch drawings and 8 full-color paintings by Schoenherr.[6][7] Herbert wrote in 1980 that though he had not spoken to Schoenherr prior to the artist creating the paintings, the author was surprised to find that the artwork appeared exactly as he had imagined its fictional subjects, including sandwormsBaron Harkonnen and the Sardaukar.

Also he gained fame for  Dragonriders of Pern stories by Anne McCaffrey, the 1967/1968 novellas “Weyr Search” and “Dragonrider” (each featured on one Analog cover as well) that were subsequently developed as the novel Dragonflight.[14] Schoenherr’s July 1975 cover for Analog has been cited as influential in the designs for the Star Wars character Chewbacca.

Analog was a magazine in which Dune and the Dragon Riders of Pern first appeared in. Among other stories in the magazine he illustrated was Randall Garrett’s  The Eye’s Have It which is rereleased in Arkham: Tales from the Flipside Winter Edition.

Gallery:

The Woohoo in the Pines Clay Gallery

Well just off the road and across the tracks here in the Pines we have an urban art gallery few know about. In this little spot that was once a hamlet, if it ever made it to that size where people outnumbered the deer, we have an art gallery that people travel for hours to find within the heart of the Pasadena section of Whiting NJ.  A gallery built on the site of the Pasadena Terracotta Factory or as others know it as Brooks Brae.

Who would figure there would be an art gallery here…

Railroad in the Pine Barren near Chatsworth factory

Well on the other side of the tracks in the old brick factory there is one, but unlike other factories repurposed for galleries within their hollow structures,  The Woohoo in the Pines Clay Gallery has no overhead and a free admission.

Many well known Piney artists have had group shows here over the years. Sometimes we are graced by the well of inspiration in which those two great cities can offer, Philadelphia and New York, that affords us the trip to our little gallery under the sun. For we have the best lighting that the universe can offer. Below is a collection of past works that hung on Brooks Brae’s walls.

Brooksbrae oven entrance

On many of our openings, most likely spurred on by the moonshine and wine offered, many couples have disappeared into the ovens where things get really hot. The only way to discover the ovens’ secrets is to bring a fluorescent light, for we are not talking. Artists are a truly a saucy bunch…

This underground room sits below the kilns that once fired the sewer pipes that were manufactured here. It is amazing what filth has occurred in this space to set young lovers’ hearts ablaze, for at least a half-hour or so before they were discovered missing from our many galas. Limelight, Studio 54, and Manray have nothing on our stains on the walls of the ovens.

For the more sensitive personalities or those people who need a little romance before entering the ovens, or for those guys needing a space in which to promise to call the girls after leaving the ovens, we have a fine garden surrounding the museum. Grounds cultivated by Frederick Law Olmstead’s neighbor’s mailman’s great-great-grandson. A future destination for Banksy, if he could do art for art’s sake…

The museum at Brooksbrae also has plenty of seating for those who need to converse while our plentiful hors d’oeuvres are being passed. The gallery can be rented for private business functions and weddings on the weekends May through November. Plus our door is open 24-7!

Right now we have whitewashed our walls and we are placing a call for new art for our Spring Show based on the artistic mind and isolation. Stop in and submit your slides for review or post your .jpgs in the comment area below.

Brooksbrae Graffiti

 

 

 

 

 

 

Behind the Scenes with Danny and the Tree of Life

Chris Dowgin in bowler hatThe latest Illustrated Children’s Classic from Norge Forge Press. A Wonderful tale of Danny who climbs the Tree of life and all the amazing things that he finds in its branches and flying past. A great tale for anyone who is young at heart! A truly endearing tale.

Follow Chris Dowgin every week to see how his illustrations are made. Sometimes he will post a few versions of an illustration where he will ask you to answer in the comments below which version you like. Also if you have tales of myths about the Tree of Life, please share below. If you have any ideas about what Danny should find on his travels up, let us know!

Seadragons 

 

Which of the three final illustrations do you like?

 

Nap Time

 

Furry Friends

Chris Dowgin at Desk

 

Now, which one of the final illustrations above did you like? Should Chris keep the blocks? Tell us below.

 

Wizards and the Grail

 

Come back next week and see what Chris comes up with! Tell us what you think below.

You can also sign up for our newsletter by emailing us at newsletter@salemhousepress.com to keep up with Chris and the rest of the great content from Salem House Press!

Chris Dowgin in teens drawing at desk

Chris in his teens at the desk.

How a Book is Made!

Danny and the Tree of Life

Follow this post weekly to see how images for this new book are made. Danny and the Tree of Life is the story of Danny who has come across a mysterious tree. It is the tale of what he sees when he scales the tree.

We will show you from digital collage sketches, drawings, and final illustrations. Below are the first few illustrations. We hope you enjoy them!

 

 

 

So come back every week and see how this story shapes up!

Illustrator of the Week: Walter Crane

The Cow Flew Over the Moon…

Walter Crane (15 August 1845 – 14 March 1915) was an English artist and book illustrator. He is considered to be the most influential, and among the most prolific, children’s book creators of his generation[1] and, along with Randolph Caldecott and Kate Greenaway, one of the strongest contributors to the child’s nursery motif that the genre of English children’s illustrated literature would exhibit in its developmental stages in the latter 19th century.

He was a fluent follower of the newer art movements and he came to study and appreciate the detailed senses of the Pre-Raphaelite Brotherhood, and was also a diligent student of the renowned artist and critic John Ruskin. A set of coloured page designs to illustrate Tennyson’s “Lady of Shalott” gained the approval of wood-engraver William James Linton to whom Walter Crane was apprenticed for three years in 1859–62. As a wood-engraver he had abundant opportunity for the minute study of the contemporary artists whose work passed through his hands, of Pre-Raphaelites Dante Gabriel Rossetti and John Everett Millais, as well as Alice in Wonderland illustrator Sir John Tenniel and Frederick Sandys. He was a student who admired the masters of the Italian Renaissance, however he was more influenced by the Elgin marbles in the British Museum. A further and important element in the development of his talent was the study of Japanese colour-prints, the methods of which he imitated in a series of toy books, which started a new fashion.

Crane’s work featured some of the more colourful and detailed beginnings of the child-in-the-garden motifs that would characterize many nursery rhymes and children’s stories for decades to come. He was part of the Arts and Crafts movement and produced an array of paintings, illustrations, children’s books, ceramic tiles and other decorative arts. Crane is also remembered for his creation of a number of iconic images associated with the international Socialist movement.

Gallery

For more info:

https://en.wikipedia.org/wiki/Walter_Crane

~Cheers,
Chris

Illustrator of the Week: Rene Bull

Sinbad!

René Bull was a British illustrator and photographer. He was born in Dublin on 11 December 1872 to a French mother and an English father. He went to Paris to study engineering, but embarked on an artistic career after meeting and taking drawing lessons from the French satirist and political cartoonist Caran d’Ache (Emmanuel Poiré) [1]. Bull returned to Ireland to contribute sketches and political cartoons to various publications, including the ‘Weekly Freeman’.

Moving to London in 1892, Bull drew for “Illustrated Brits” and created cartoons in the style of Caran d’Ache for ‘Pick-Me-Up’ from 1893. In 1896 Bull joined Black and White illustrated newspaper as a special artist and photographer. In 1898, he covered the Tirah Campaign in India and went on to Sudan for the campaign culminating in the Battle of Omdurman. He went to South Africa to record the Boer War until the relief of Ladysmith in March 1900. As he was wounded in 1900, Bull was invalided out.

He settled in England and drew cartoons for such magazines as BystanderChumsLondon OpinionLika Joko. In The Sketch Bull created cartoons of humorous inventions, predating those of William Heath Robinson. From 1905 he illustrated books, starting with an edition of Fontaine’s ‘Fables’. Other major titles he illustrated included The Arabian Nights (1912), Rubáiyát of Omar Khayyám (1913), The Russian Ballet (1913), Carmen (1915), Andersen’s Fairy Tales. In 1914, Bull joined the Royal Naval Volunteer Reserve as a lieutenant and was eventually transferred to the Royal Air Force where he reached the rank of Major. In World War II Bull joined the Air Ministry for technical duties. He died on 14 March 1942.

Books

  • Jean De La Fontaine – Fables (Nelson, 1905)
  • Frank A. Saville – Fate’s Intruder: A Novel (Heinemann, 1905)
  • Joel Chandler Harris – Uncle Remus (Nelson, 1906)
  • The Arabian Nights (Constable, 1912)
  • Alfred Edwin Johnson – The Russian Ballet (1913)
  • Rubaiyat of Omar Khayyam (Hodder, 1913)
  • Prosper Mérimée (Trans. A. E. Johnson) – Carmen (Hutchinson, 1915)
  • Hubert Strang – The Old Man Of The Mountain (Hodder, 1916)
  • Jonathan Swift – Gulliver’s Travels (1928)
  • Rose Fyleman – A Garland of Roses: Collected Poems (Methuen, 1928)
  • Hans Christian Andersen – Fairy Tales (Clowes, c. 1928)
  • Joel Chandler Harris – Brer Rabbit Plays (Retold by Elizabeth Fleming) (Nelson, 1930)
  • Jean De La Fontaine – Fables: A Selection (Trans. Shirley Edward) (1935)
  • Zoo Friends (Blackie, 1939)
  • Various – The Children’s Golden Treasure Book of 1939

Gallery

For more info:

https://en.wikipedia.org/wiki/Ren%C3%A9_Bull

~Cheers
Chris

Illustrator of the Week: Alan Lee

Giants and Fairies!

Alan has illustrated dozens of fantasy books, including some nonfiction, and many more covers.[2] Several works by J.R.R. Tolkien are among his most notable interiors: the Tolkien centenary edition of The Lord of the Rings (1992), a 1999 edition of The Hobbit that has been boxed with it, and Narn i Chîn Húrin: The Children of Húrin(2007).[2][3] The latter, a first edition, is his work most widely held in WorldCat participating libraries.[4] Other books he has illustrated include Faeries (with Brian Froud), Lavondyss by Robert Holdstock (as well as the cover of an early print of this book), The Mabinogion (two versions), Castles and Tolkien’s Ring (both nonfiction by David Day), The Mirrorstone by Michael PalinThe Moon’s Revenge by Joan Aiken, and Merlin Dreams by Peter Dickinson.[2][3]

He has also illustrated retellings of classics for young people. Two were Rosemary Sutcliff‘s versions of the Iliadand the Odyssey—namely, Black Ships Before Troy (Oxford, 1993) and The Wanderings of Odysseus (Frances Lincoln, 1995). Another was Adrian Mitchell‘s version of Ovid’s Metamorphoses—namely, Shapeshifters (Frances Lincoln, 2009).[5]

Lee did cover paintings for the 1983 Penguin edition of Mervyn Peake‘s Gormenghast trilogy.[2][3] He also did the artwork for Alive!, a CD by the Dutch band Omnia, released on 3 August 2007 during the Castlefest festival.[3]

Watercolour painting and pencil sketches are two of Lee’s common media.[3]

Lee and John Howe were the lead concept artists of Peter Jackson‘s Lord of the Rings films[6] and were recruited by director Guillermo del Toro in 2008 for continuity of design in the subsequent The Hobbit films,[6][7] before joining Jackson when he took over the Hobbit films project. Jackson has explained[8]how he originally recruited the reclusive Lee. By courier to Lee’s home in the south of England, he sent two of his previous films, Forgotten Silver and Heavenly Creatures, with a note from himself and Fran Walsh that piqued Lee’s interest enough to become involved. Lee went on to illustrate and even to help construct many of the scenarios for the movies, including objects and weapons for the actors. He also made two cameo appearances, in the opening sequence of The Fellowship as one of the nine kings of men who became the Nazgûl, and in The Two Towers as a Rohan soldier in the armory (over the shoulder of Viggo Mortensen as Aragorn and Legolas talk in Elvish).[9]

Lee has also worked as a conceptual designer on the films LegendErik the VikingKing Kong and the television mini-series Merlin.[6] The art book Faeries, produced in collaboration with Brian Froud, was the basis of a 1981 animated feature of the same name.

Gallery

For more info:

https://en.wikipedia.org/wiki/Alan_Lee_(illustrator)

~Cheers,
Chris

Illustrator of the Week: John French Sloan

No Red Motif #1

John French Sloan (August 2, 1871 – September 7, 1951) was a twentieth-century painter and etcher and one of the founders of the Ashcan school of American art. He was also a member of the group known as The Eight. He is best known for his urban genre scenes and ability to capture the essence of neighborhood life in New York City, often observed through his Chelsea studio window. Sloan has been called “the premier artist of the Ashcan School who painted the inexhaustible energy and life of New York City during the first decades of the twentieth century”[1] and an “early twentieth-century realist painter who embraced the principles of Socialism and placed his artistic talents at the service of those beliefs.”

In 1913, Sloan painted a two-hundred-foot backdrop for the Paterson Strike Pageant, a controversial work of performance art and radical politics organized by activist John Reed and philanthropist Mabel Dodge. The play, a benefit staged for the striking silk mill workers of Paterson, New Jersey, took place in Madison Square Garden and incorporated over 1,000 participants.

Also in 1913, Sloan participated in the legendary Armory Show. He served as a member of the organizing committee and also exhibited two paintings and five etchings.[18] In that same year, the important collector Albert C. Barnes purchased one of Sloan’s paintings; this was only the fourth sale of a painting for Sloan (although it has often erroneously been counted as his first).[19] For Sloan, exposure to the European modernist works on view in the Armory Show initiated a gradual move away from the realist urban themes he had been painting for the previous ten years.[20] In 1914–15, during summers spent in Gloucester, Massachusetts, he painted landscapes en plein air in a new, more fluid and colorful style influenced by Van Gogh and the Fauves.[21]

Beginning in 1914, Sloan taught at the Art Students League, where for the next eighteen years he became a charismatic if eccentric teacher. Sloan also taught briefly at the George Luks Art School. His students respected him for his practical knowledge and integrity, but feared his caustic tongue; as a well-known painter who had nonetheless sold very few paintings, he advised his students, “I have nothing to teach you that will help you to make a living.”[22] He disdained careerism among artists and urged his pupils to find joy in the creative process alone.

The summer of 1918 was the last he spent in Gloucester. For the next thirty years, he spent four months each summer in Santa Fe, New Mexico, where the desert landscape inspired a new concentration on the rendering of form. Still, the majority of his works were completed in New York.[23] As a result of his time in the Southwest, he and Dolly developed a strong interest in Native American arts and ceremonies and, back in New York, became advocates of Indian artists.[24] In 1922 he organized an exhibition of work by Native American artists at the Society of Independent Artists in New York.[25] He also championed the work of Diego Rivera, whom he called “the one artist on this continent who is in the class of the old masters.”[26] The Society of Independent Artists, which Sloan had co-founded in 1916, gave Rivera and José Clemente Orozco their first showing in the United States in 1920.

Gallery

For more info:

https://en.wikipedia.org/wiki/John_French_Sloan

~Cheers,
Chris

Illustrator of the Week: Rockwell Kent

Be Careful by that Cliff…

Rockwell Kent was born in Tarrytown, New York, the same year as fellow American artists George Bellows and Edward Hopper. Kent was of English descent.[2][3] He lived much of his early life in and around New York City, where he attended the Horace Mann School. In his mid-40s he moved to an Adirondack farmstead that he called Asgaard where he lived and painted until his death. Kent studied with several influential painters and theorists of his day. He studied composition and design with Arthur Wesley Dow at the Art Students League in the fall of 1900, and he studied painting with William Merritt Chase each of the three summers between 1900 and 1902, after which he entered in the fall of 1902 Robert Henri‘s class at the New York School of Art, which Chase had founded. During the summer of 1903 in Dublin, New Hampshire, Kent was apprenticed to painter and naturalist Abbott Handerson Thayer. An undergraduate background in architecture at Columbia University prepared Kent for occasional work in the 1900s and 1910s as an architectural renderer and carpenter. At the Art Students League he would meet and befriend the artists Wilhelmina Weber Furlong and Thomas Furlong.[4][5]

Kent’s early paintings of Mount Monadnock and New Hampshire were first shown at the Society of American Artists in New York in 1904, when Dublin Pond was purchased by Smith College. In 1905 Kent ventured to Monhegan Island, Maine, and found its rugged and primordial beauty a source of inspiration for the next five years. His first series of paintings of Monhegan were shown to wide critical acclaim in 1907 at Clausen Galleries in New York. These works form the foundation of his lasting reputation as an early American modernist, and can be seen in museums across the country, including the Metropolitan Museum of ArtSeattle Art MuseumNew Britain Museum of American Art, and the Fine Arts Museums of San Francisco. Among those critics lauding Kent was James Huneker of the Sun, who praised Kent’s athletic brushwork and daring color dissonances.[6] (It was Huneker who deemed the paintings of The Eight as “decidedly reactionary”.)[7] In 1910, Kent helped organize the Exhibition of Independent Artists, and in 1911 together with Arthur B. Davies he organized An Independent Exhibition of the Paintings and Drawings of Twelve Men, referred to as “The Twelve” and “Kent’s Tent”. Painters Marsden HartleyJohn Marin, and Max Weber (but not John Sloan, Robert Henri, or George Bellows) participated in the 1911 exhibition.

transcendentalist and mystic in the tradition of Thoreau and Emerson, whose works he read, Kent found inspiration in the austerity and stark beauty of wilderness. After Monhegan, he lived for extended periods of time in Winona, Minnesota (1912–1913), Newfoundland (1914–15), Alaska (1918–19), Vermont (1919–1925), Tierra del Fuego (1922–23), Ireland (1926), and Greenland (1929; 1931–32; 1934–35). His series of land and seascapes from these often forbidding locales convey the Symbolist spirit evoking the mysteries and cosmic wonders of the natural world. “I don’t want petty self-expression”, Kent wrote, “I want the elemental, infinite thing; I want to paint the rhythm of eternity.”

Gallery

For more info:

https://en.wikipedia.org/wiki/Rockwell_Kent

~Cheers,
Chris