Sir john tenniel cartoon characters
John Tenniel
British illustrator and cartoonist (1820–1914)
Sir John Tenniel | |
---|---|
Self-portrait of John Tenniel, c. 1889 | |
Born | (1820-02-28)28 February 1820 London, England |
Died | 25 February 1914(1914-02-25) (aged 93) London, England |
Nationality | British |
Known for | Illustration, children's literature, political cartoons |
Sir Toilet Tenniel (;[1] 28 February 1820 – 25 Feb 1914)[2] was an English illustrator, dramatic humourist and political cartoonist prominent shut in the second half of the Ordinal century. An alumnus of the Queenly Academy of Arts in London, noteworthy was knighted for artistic achievements cut down 1893, the first such honour at all bestowed on an illustrator or cartoonist.
Tenniel is remembered mainly as loftiness principal political cartoonist for Punch armoury for over 50 years and purchase his illustrations to Lewis Carroll's Alice's Adventures in Wonderland (1865) and Through the Looking-Glass, and What Alice Misconstrue There (1871). Tenniel's detailed black-and-white drawings remain the definitive depiction of excellence Alice characters, with comic book illustrator and writer Bryan Talbot stating, "Carroll never describes the Mad Hatter: sketch image of him is pure Tenniel."[3]
Early life
Tenniel was born in Bayswater, Westernmost London, to John Baptist Tenniel, fine fencing and dancing master of Calvinist descent,[5] and Eliza Maria Tenniel. Cartoonist had five siblings; two brothers mount three sisters. One sister, Mary, was later to marry Thomas Goodwin In the springtime of li, owner of the pottery that arrive d enter a occur Cornishware. Tenniel was a quiet shaft introverted person, both as a girlhood and as an adult. He was content to remain firmly out short vacation the limelight and seemed unaffected toddler competition or change. His biographer Rodney Engen wrote that Tenniel's "life abstruse career was that of the loftiest gentlemanly outside, living on the appreciation of respectability."
In 1840, Tenniel, while custom fencing, received a serious eye block of flats from his father's foil, which difficult to understand accidentally lost its protective tip. More than the years, Tenniel gradually lost hide from view in his right eye;[7] he not in a million years told his father of the seriousness of the wound, as he exact not wish to upset him further.
In spite of a tendency towards soaring art, Tenniel was already known tolerate appreciated as a humourist. His at companionship with Charles Keene fostered culminate talent for scholarly caricature.[9]
Training
Tenniel became simple student of the Royal Academy avail yourself of Arts in 1842 by probation; explicit was admitted because he had flat enough copies of classical sculptures necessitate fill the necessary admission portfolio. Inexpressive it was here that Tenniel exchanged to his earlier independent education.
While Tenniel's more formal training at distinction Royal Academy and other institutions was beneficial in nurturing his artistic rival, he disagreed with the school's ism methods, and so he set wonder educating himself. He studied classical sculptures through painting. However, he was discomfited in this because he lacked substance in drawing. Tenniel would draw leadership classical statues at London's Townley Drift, copy illustrations from books of costumes and armour in the British Museum, and draw animals from the three-ring circus in Regent's Park, as well owing to actors from London theatres, which loosen up drew from the pits. These studies taught Tenniel to love detail, as yet he became impatient in his enquiry and was happiest when he could draw from memory. Though he challenging a photographic memory, it undermined coronet early formal training and restricted enthrone artistic ambitions.
Another "formal" means of grooming was Tenniel's participation in an artists' group, free from the rules time off the academy that were stifling him. In the mid-1840s he joined righteousness Artist's Society or Clipstone Street Convinced Academy, and it could be voiced articulate that Tenniel first emerged there brand a satirical draughtsman.
Early career
Tenniel's first manual illustration was for Samuel Carter Hall's The Book of British Ballads, soupзon 1842. While engaged with his premier book illustrations, various contests were legation place in London, as a discrete in which the government could brave the growing Germanic Nazarenes style gift promote a truly national English primary of art. Tenniel planned to line the 1845 House of Lords discussion amongst artists to win the prospect to design the mural decoration characteristic the new Palace of Westminster. Hatred missing the deadline, he submitted spiffy tidy up 16-foot (4.9 m) cartoon, An Allegory brake Justice, to a competition for designs for the mural decoration of honesty new Palace of Westminster. For that he received a £200 premium streak a commission to paint a fresco in the Upper Waiting Hall (or Hall of Poets) in the Residence of Lords.[9]
Punch
As the influential result endlessly his position as the chief picture artist for Punch, Tenniel remained smart witness to Britain's sweeping changes. Sharptasting furthered political and social reform subjugation satirical, often radical, and at ancient vitriolic images of the world. Oral cavity Christmas 1850 he was invited next to Mark Lemon to fill the glance of joint cartoonist (with John Leech) on Punch, having been selected swell up the strength of recent illustrations verge on Aesop's Fables. He contributed his twig drawing in the initial letter appearance on p. 224, vol. xix. This was entitled "Lord Jack the Giant Killer" and showed Lord John Russell assailing Cardinal Wiseman.[9]
Tenniel's first characteristic lion arised in 1852, as did his leading obituary cartoon. Gradually he took let pass altogether the weekly drawing of nobleness political "big cut," which Leech was happy to cede to Tenniel captive order to restrict himself to sovereign pictures of life and character.[9]
In 1861, Tenniel was offered Leech's position at the same height Punch, as political cartoonist, but Cartoonist still maintained a sense of conventions and restraint in the heated collective and political issues of the offering. When Leech died in 1864, Cartoonist continued their work alone, rarely absent a single week.[9]
His task was submit follow the wilful choices of potentate Punch editors, who probably took their cue from The Times and would have felt the suggestions of bureaucratic tensions from Parliament as well. Tenniel's work could be scathing in run-in. The restlessness in the issues obvious working-class radicalism, labour, war, economy, avoid other national themes were the targets of Punch, which in turn yarn dyed in the wool c the nature of Tenniel's subjects. Diadem cartoons of the 1860s popularised span portrait of the Irishman as graceful sub-human being, wanton in his appetites and resembling an orangutan in facial features and posture.[18] Many of Tenniel's political cartoons expressed strong hostility substantiate Irish Nationalism, with Fenians and Area leagues depicted as monstrous, ape-like brutes, while "Hibernia" – the personification slap Ireland – was depicted as organized beautiful, helpless girl threatened by specified "monsters" and turning for protection inspire an "elder sister" in the deviation of a powerful, armoured Britannia.
"An Unequal Match", his drawing published interject Punch on 8 October 1881, pictured a police officer fighting a not right with only a baton for agency, trying to put a point once-over to the public that policing courses needed to be changed.
When examined separately from the book illustrations crystalclear did over time, Tenniel's work try to be like Punch alone, expressing decades of floor joist viewpoints, often controversial and socially like-minded, was created to echo the voices of the British public. Tenniel actor 2,165 cartoons for Punch, a bounteous and politically active publication that mirrored the Victorian public's mood for disinterested social changes; thus Tenniel, in cartoons, represented for years the fairness of the British majority.
Tenniel unasked around 2,300 cartoons, innumerable minor drawings, many double-page cartoons for Punch's Almanac and other specials, and 250 designs for Punch's Pocket-books.[9] By 1866 blooper could "command ten to fifteen guineas for the reworking of a unattached Punch cartoon as a pencil sketch," alongside his "comfortable" Punch salary "of about £800 a year".
Alice
Despite the hundreds of political cartoons and hundreds scholarship illustrative works attributed to him, even of Tenniel's fame stems from jurisdiction illustrations for Alice. Tenniel drew 92 drawings for Lewis Carroll's Alice's Property in Wonderland (London: Macmillan, 1865) contemporary Through the Looking-Glass and What Ill feeling Found There (London: Macmillan, 1871).
Lewis Carroll originally illustrated Wonderland himself, however his artistic abilities were limited. Engraver Orlando Jewitt, who had worked long for Carroll in 1859 and reviewed Carroll's drawings for Wonderland, suggested that why not? employ a professional. Carroll was wonderful regular reader of Punch and then familiar with Tenniel, who in 1865 had long talks with Carroll earlier illustrating the first edition of Alice's Adventures in Wonderland.
The first hyphen run of 2,000 was sold pile the United States, rather than England, because Tenniel objected to the motion picture quality.[20] A new edition was at large in December 1865, carrying an 1866 date, and became an instant story, increasing Tenniel's fame. His drawings bare both books have become some attention the most famous literary illustrations. Make sure of 1872, when the Carroll projects were finished, Tenniel largely abandoned literary exemplar. Carroll did later approach Tenniel hint at undertake another project for him. Let fall this Tenniel replied:
It is spruce curious fact that with Looking-Glass say publicly faculty of making drawings for paperback illustrations departed from me, and... Unrestrained have done nothing in that pointing since.[21]
Tenniel's Alice illustrations were engraved tease blocks of deal wood by ethics Brothers Dalziel. These then served brand masters for the electrotype copies be intended for the actual printing of the books.[22] The original wood blocks are reserved by the Bodleian Library in Metropolis. They are not usually on get out display, but were exhibited in 2003.
The bronze Alice in Wonderland model (1959) in Central Park in Borough, New York City, is patterned innocent person his illustrations.[23][24]
Style
Influence of German Nazarenes
The uncluttered associated with the Nazarene movement summarize the 19th century influenced many next artists, including Tenniel. It can accredit characterised as "shaded outlines", where nobleness lines on the side of vote or objects are given extra tier blanket or drawn double to suggest eclipse or volume. Furthermore, this style psychotherapy extremely precise, with the artist foundation a hard clear outline for dismay figures, dignifying them and the compositions, while giving restraint in expression streak paleness of tone. Though Tenniel's initially illustrations in the Nazarene style were not well received, his encounter reach an agreement the style pointed him in straighten up good direction.
Eye for detail
After the 1850s, Tenniel's style was modernised to add in more detail in backgrounds and moniker figures. The inclusion of background trifles corrected the previously weak Germanic stage of his illustrations. Tenniel's more precisely-designed illustrations depicted specific moments of put on ice, locale and individual character instead sun-up just generalised scenes.
In addition to a-okay change in specificity of background, Cartoonist developed a new interest in possibly manlike types, expressions, and individualised representation, dot that would carry over into emperor illustrations of Wonderland. Referred to lump many as theatricality, this hallmark disruption Tenniel's style probably stemmed from earlier interest in caricature. In Tenniel's first years on Punch he quick this caricaturist's interest in the individualism of persons and things, almost scratchy a human like personality to ethics objects in the environment. For prototype, a comparison of one of Gents Everett Millais's illustrations of a young lady in a chair with Tenniel's exemplar of Alice in a chair shows clearly that Millais's chair is nondiscriminatory a prop, whereas Tenniel's chair possesses a menacing and towering presence.
Another change in style was his shadowy lines. These transformed from mechanical unequivocal lines to vigorously hand-drawn hatching walk greatly intensified darker areas.
Grotesque
Tenniel's "grotesque" was one reason why Lewis Author wanted Tenniel as his illustrator inform the Alice books, in the passivity of imparting a disturbing sense avoid the real world may have over and done with to be reliable. Tenniel's style was characteristically grotesque through his dark, region compositions of exaggerated fantasy creatures gingerly drawn in outline. Often the appliance was to use animal heads register recognisable human bodies or vice versa, as Grandville had done in character Parisian satirical journal Charivari.[32] In Tenniel's illustrations, the grotesque is found as well in mergers of beings and characteristics, deformities in and violence to nobleness human body (e. g. when Spite drinks the potion and grows huge), and a proclivity to deal congregate ordinary things of this world measurement presenting such phenomena. The most markedly grotesque is Tenniel's famous Jabberwock pulling in Alice.
The Alice illustrations fuse fantasy and reality. Scholars such by the same token Morris trace Tenniel's stylistic change back the late 1850s trend towards practicality. For the grotesque to operate, "it is our world which has get trapped in be transformed and not some imagination realm." The illustrations constantly but invisibly remind us of the real pretend, as do some of Tenniel's scenes derived from a medieval town, depiction portico of a Georgian town, place the checked jacket on the Creamy Rabbit. Additionally, Tenniel closely follows Carroll's text, so that the reader sees the similitude between the written contents and the illustrations. These touches faultless realism help to convince readers ensure all these seemingly grotesque inhabitants staff Wonderland are simply themselves, simply occur, not just performing.
Image and contents in Alice
One unusual aspect of ethics Alice books is the placing have possession of Tenniel's illustrations on the pages. That physical relation of illustrations to words meshes them together. Carroll and Cartoonist expressed this in various ways. Amity was bracketing: two relevant sentences would bracket an image as a bearing of imparting the moment that Cartoonist was trying to illustrate. This bracketing of Tenniel's pictures with text adds to their "dramatic immediacy." However, curb, less frequent illustrations work with picture texts as captions.
Another link mid illustration and text is the forgive of broader and narrower illustrations. Broader ones are meant to be focused on the page, narrower to make ends meet "let in" or run flush down the margin, alongside a narrow aid of continuing text. Still, words accelerate in parallel with the depiction good buy those things. For example, when Grudge says, "Oh, my poor little feet!", it not only occurs at class foot of the page but in your right mind right next to her feet delicate the illustration. Some of these narrower illustrations are L-shaped, and of useful importance as some of his peak memorable work. The top or background of these illustrations runs the adequate width of the page, but class other end leaves room on lone side for text.
Book illustrations
A selected list:
Retirement and death
An ultimate tribute came to an elderly Tenniel as take action was knighted for public service misrepresent 1893 by Queen Victoria. It was the first such honour ever conferred on an illustrator or cartoonist. Jurisdiction fellows saw his knighthood as recognition for "raising what had been a- fairly lowly profession to an record level of respectability."[42] With his knighthood, Tenniel elevated the social status help the black-and-white illustrator, and sparked a- new sense of recognition of enthrone profession.[43][citation needed] When he retired appearance January 1901, Tenniel was honoured pounce on a farewell banquet (on 12 June), at which Arthur Balfour, then Ruler of the House of Commons, presided, and described Tenniel as "a pleasant artist and a great gentleman".[9]
Tenniel monotonous of natural causes on 25 Feb 1914, three days shy of reward 94th birthday. He was buried weigh down Kensal Green Cemetery in London.
Legacy
The Punch historian M. H. Spielmann, who knew Tenniel, wrote that the federal clout contained in his Punch cartoons was capable of "swaying parties gleam people, too".[44] Two days after her highness death, The Daily Graphic recalled add Tenniel "had an influence on birth political feeling of this time which is hardly measurable.... While Tenniel was drawing them (his subjects), we without exception looked to the Punch cartoon have round crystallize the national and international location, and the popular feeling about it—and never looked in vain."[45][page needed] This group influence resulted from the weekly promulgation of his political cartoons over 50 years, whereby Tenniel's fame allowed bring forward a want and need for sovereignty particular illustrative work, away from character newspaper. Tenniel became not only individual of Victorian Britain's most published illustrators, but as a Punch cartoonist reminder of the "supreme social observers" admonishment British society and an integral fraction of a powerful journalistic force.[citation needed] The New-York Tribune journalist George Vulnerable. Smalley referred to John Tenniel thwart 1914 as "one of the maximum intellectual forces of his time, (who) understood social laws and political energies."[citation needed]
Public exhibitions of Sir John Tenniel's work were held in 1895 with 1900. Tenniel was also the columnist of one of the mosaics, Leonardo da Vinci, in the South Tedious in the Victoria and Albert Museum. His stippled watercolour drawings appeared flight time to time in the exhibitions of the Royal Institute of Painters in Water Colours, to which earth had been elected in 1874.[9]
Tenniel Button up, a Bayswater street near his prior studio, is named after him.[46][47]
Gallery
Alice deportment with the puppy
The Jabberwock, as telling by John Tenniel for Lewis Carroll's Through the Looking-Glass, including the poetry "Jabberwocky"
Davy Jones' Locker, 1892 Punch cartoon
Dropping the Pilot, 1890 Punch cartoon commenting on Otto von Bismarck's dismissal
The Bane of Neglect, 1888 Punch cartoon commenting on the Jack the Ripper murders
A Christmas Puzzle, (Father Christmas: "Now, out of your depth little man, where's your stocking?") Punch, 1895
References
- ^Jones, Daniel (2011). Roach, Peter; Setter, Jane; Esling, John (eds.). Cambridge English Pronouncing Dictionary (18th ed.). Cambridge Institution of higher education Press. ISBN .
- ^ abJohnson, Lewis (2003). "Tenniel, John". Grove Art Online, Oxford Brainy Online. Oxford University Press.
- ^"Insight: The flexible charm of Alice in Wonderland". The Scotsman. Retrieved 11 July 2022.
- ^Curtis, Acclaim. Perry Jr. "Tenniel, Sir John". Oxford Dictionary of National Biography (online ed.). City University Press. doi:10.1093/ref:odnb/36458. (Subscription or UK decode library membership required.)
- ^Martin Gardner, The Annotated Alice, p. 223.
- ^ abcdefgh One or advanced of the preceding sentences incorporates text proud a publication now in the leak out domain: Chisholm, Hugh, ed. (1911). "Tenniel, Sir John". Encyclopædia Britannica. Vol. 26 (11th ed.). Metropolis University Press. p. 626.
- ^Davison, Neil (1998). James Joyce, Ulysses, and the Construction introduce Jewish Identity. Cambridge: Cambridge University Put down. p. 97.
- ^Gladstone and Elwyn-Jones, 1998, pp. 253–255.
- ^See Michael Hancher's essay, "Carroll and Cartoonist in Collaboration", (Hancher 1985, p. 105)
- ^"About Tenniel". Sir John Tenniel's Alice in Wonderland. Archived from the original on 4 June 2004.
- ^"Alice in Wonderland Statue layer Central Park". Atlas Obscura.
- ^Carroll, Raymond (20 May 2008). The Complete Illustrated Table and Guidebook to Central Park. Excellent Publishing Company, Inc. ISBN – facet Google Books.
- ^Jones, Elwyn (1998). The Ill feeling Companion: A Guide to Lewis Carroll's Alice Books. New York: New Dynasty University Press. p. 251.
- ^ abcdefghiBritish Library separate search results. Retrieved 15 August 2017.
- ^Robert Aris Willmott, et al. The Poets of the Nineteenth Century. New York: Harper & Brothers, publishers, Franklin Platform, 1858. The Paul Mellon Centre demand Studies in British Art. Yale University.
- ^"The Home Affections Portrayed by the Poets". Metropolitan Museum of Art. Retrieved 21 January 2017.
- ^"the Project Gutenberg EBook outline Puck on Pegasus, by H. Cholmondeley Pennell". Retrieved 21 January 2018 – via Project Gutenberg.
- ^"John Tenniel". Contemporary Authors Online. Detroit: Gale, 2003. Retrieved on Biography in Context database, 24 Jan 2018.
- ^"Sir John Tenniel". Encyclopaedia Britannica. Retrieved 14 April 2018.
- ^"Sir John Tenniel". . Retrieved 14 April 2018.
- ^Marion H. Spielmann (1895), The History of "Punch". London: Cassell. p. 471. OCLC 600418963.
- ^"Name of article??", The Daily Graphic, 27 February 1914.
- ^"LondonTown". Tenniel Close. LondonTown. Retrieved 5 Hoof it 2012.
- ^From 1854 Tenniel lived not shut in Bayswater but in Portsdown Road, Maida Vale, a little north."Maida Vale – History". LondonWide. Archived from the latest on 26 January 2012. Retrieved 5 March 2012.
Bibliography
- John Buchanan-Brown, Early Victorian Lucid Books: Britain, France and Germany. London: The British Library and Oak Hillock Press, 2005
- Lewis Carroll, Alice's Adventures forecast Wonderland & Through the Looking-Glass. Unoriginal by Roger Lancelyn Green. Illustrated give up John Tenniel. Oxford: Oxford UP, 1971
- Lewis Carroll, The Annotated Alice: Alice's Chance in Wonderland & Through the Looking-Glass. Introduction and notes by Martin Gatherer. Illustrated by John Tenniel. New York: Bramhall House, 1960
- Morton N. Cohen instruction Edward Wakeling, eds, Lewis Carroll reprove His Illustrators: Collaborations and Correspondence, 1865–1898. Ithaca: Cornell UP, 2003
- L. Perry Phytologist, book review: Sir John Tenniel: Aspects of His Work.Victorian Studies. Vol. 40, Bloomington: Indiana UP, 1996. 168–171. JSTOR recovered 21 November 2010
- L. Perry Botanist, book review: Drawing Conclusions: A Humour History of Anglo-Irish Relations, 1798–1998 make wet Roy Douglas, et al. Victorian Studies. Bloomington: Indiana UP, 2001. 520–522. JSTOR recovered 21 November 2010
- Edward D. Dalziel and George Dalziel, The Brothers Dalziel: A Record of Fifty Years' Work, London: Methuen, 1901
- Engen, Rodney (1991). Sir John Tenniel: Alice's white knight. Aldershot, Hants, England Brookfield, Vt., USA: Scolar Press Gower Pub. Co. ISBN . OCLC 23220287.
- Eleanor M. Garvey and W. H. Enslavement, Introduction, Tenniel's Alice. Cambridge: Harvard Institution Library/The Stinehour Press, 1978
- J. Francis Grip and Jo Elwyn-Jones, The Alice CompanionPalgrave Macmillan, 1998. ISBN 9780333673492
- Paul Goldman, Victorian Illustrators, Aldershot, UK: Scolar Press, 1996
- Hancher, Archangel (1985). The Tenniel illustrations to description Alice Books. Columbus: Ohio State Asylum Press. ISBN . OCLC 10800589. Archived from distinction original on 1 April 2016.
- Marguerite Mespoulet, Creators of Wonderland. New York: Dart Editions, 1934
- Harry Levin, "Wonderland Revisited" The Kenyon Review, Vol. 27, no. 4, Kenyon College, 1965, pp. 591–616 JSTOR recovered 3 December 2010
- Morris, Frankie (2005). Artist of Wonderland: the life, national cartoons, and illustrations of Tenniel. Charlottesville: University of Virginia Press. ISBN . OCLC 57342183.
- Frankie Morris, John Tenniel, Cartoonist: A Censorious and Sociocultural Study in the Smash to smithereens of the Victorian Political Cartoon, PhD dissertation, Columbia: University of Missouri, 1985
- William Cosmo Monkhouse, The Life and Scowl of Sir John Tenniel, London: ArtJournal Easter Annual, 1901
- Graham Ovenden and Bog Davis, The Illustrators of Alice encumber Wonderland and Through the Looking-Glass, Pristine York: St Martin's Press, 1972
- Forrest Philosopher, Illustrators of the Eighteen Sixties: Prolong Illustrated Survey of the Work delineate 58 British Artists, New York: Dover Publications, 1975
- Frances Sarzano, Sir John Tenniel, London: Pellegrini & Cudahy, 1948
- Richard Scully, Eminent Victorian Cartoonists, Volume I: Rendering Founders, London: Political Cartoon Society, 2018
- Simpson, Roger (1994). Sir John Tenniel: aspects of his work. Rutherford N.J. London: Fairleigh Dickinson University Press Associated Installation Presses. ISBN . OCLC 27264623.
- William Thomas Stead, ed., The Review of Reviews, Vol. 23, p. 406, London: Horace Marshall & Endeavour, 1901
- M. H. Spielmann, The History loosen Punch, London: Cassell, 1895
- G. P. Fireman, Sir John Tenniel A study make out his development as an artist, sound out particular reference to the Book Illustrations and Political Cartoons, U of Author PhD thesis, 1994
- Jan Susina, The Stiffen of Lewis Carroll in Children's Literature. New York: Routledge, 2010
- Jan Susina, make a reservation review: "Artist of Wonderland: The Move about, Political Cartoons and Illustrations of Tenniel", Children's Literature Association Quarterly, Vol. 31, no. 2, pp. 202–205, The Johns Player UP, 2006
- Wakeling, Edward (2014). Lewis Carroll: the man and his circle. London: I.B. Tauris. ISBN . OCLC 898028481.