Sir John Tenniel (February 28, 1820 - February 25, 1914) was a British illustrator, graphic humorist, and prominent political cartoonist in the second half of the 19th century. He was knighted for his artistic achievement in 1893. Tenniel is remembered primarily as the main political cartoonist for the magazine's Punch magazine for over 50 years, and for his illustration of Lewis Carroll Alice's Adventure in the Wonderland > i> (1865) and Through Looking Glass, and What Alice Found There (1871).
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Tenniel was born in Bayswater, West London, to John Baptist Tenniel, a fencing teacher and dancing to the descendants of Huguenot, and Eliza Maria Tenniel. Tenniel has five brothers; two brothers and three sisters. A sister, Mary, later married Thomas Goodwin Green, the potter who produced Cornishware. Tenniel is a quiet and introverted person, both as a boy and as an adult. He is content to stay out of the limelight and does not seem to be affected by competition or change. His biographer Rodney Engen writes that "Tenniel's life and career is the noblest on the outside, living on the edge of honor."
In 1840, Tenniel, while practicing fencing with his father, received a serious eye injury from his father's foil, which inadvertently lost his protector's tip. For years, Tenniel gradually lost sight in his right eye; he never told his father about the severity of the wound, because he did not want to make his father more irritated.
Despite his tendency towards high art, Tenniel is well known and appreciated as a humorist and his first friendship with Charles Keene cultivated and developed his talents for scientific caricatures.
Maps John Tenniel
Training
Tenniel became a student of the Royal Academy of Arts in 1842 with a trial period - he was accepted because he made several copies of the classic statue to provide the required portfolio of receipts. So here's where Tenniel returns to an independent education beforehand. While Tenniel's more formal training at the Royal Academy and in other institutions beneficial in sharpening his artistic ambitions, it failed in Tenniel's mind because he disagreed with the school's teaching methods, which resulted in Tenniel educating himself for his career. Tenniel studied the classic statue through painting; However, Tenniel was frustrated because she had never been taught how to draw. Tenniel will draw the classic statues at London Townley Gallery, copy the illustrations from costume and armor books at the British museum, and draw animals from the zoo at Regent Park as well as the actors from the London theater, taken from the hole. In these studies Tenniel learned to love detail; However, she becomes impatient with her work and is the happiest when she can draw from memory. Tenniel is blessed with photographic memory, ruining his initial training and completely limiting his artistic ambitions.
Another "formal" means of training is Tenniel's participation in artist groups, free of the academy rules that hold Tenniel. In the mid-1840s Tenniel joined the Artist's Society or Clipstone Street Life Academy, and it can be said here that Tenniel first appeared as a satirical draftsman.
Initial career
The first book illustration of Tenniel was for Samuel Carter Hall's Book of British Ballads in 1842. When involved with his first book illustration, various contests were under way in London, as a way in which the government could combat Nazarenes Germanic style which develops and promotes a truly national school of English art. Tenniel plans to enter the House of Lords competition in 1845 among artists to win the chance to design a mural decoration of the new Palace of Westminster. Despite not meeting deadlines, he submitted a 16 foot (4.9 m), Justice Trial cartoon, to a competition for designs for the mural decor of the new Westminster Palace. For this he received a £ 200 premium and a commission to paint frescoes at the Upper Waiting Hall (or Hall of Poets) in the House of Lords.
Punch
As an influential outcome of his position as the main cartoon artist for Punch (published 1841-1992, 1996-2002), John Tenniel, through pictures of a satirical, often radical and sometimes energetic world , for five decades and remains a staunch British social witness to the sweeping national changes in the moment of political and social reform of the nation. On Christmas 1850 he was invited by Mark Lemon to fill a joint cartoonist position (with John Leech) on Punch . He has been selected on the strength of his last illustration for Aesop's Fables . He contributed his first drawing in an early letter that appeared in p.Ã, 224, vol. xix. His first cartoon was Lord Lev the Giant Killer, which showed Lord John Russell attacking Cardinal Wiseman.
In 1861, Tenniel was offered the position of John Leech in Punch, as a political cartoonist; However, Tenniel still retained some modesty and refrained from the hot social and political issues of the day.
Because his job is to build a deliberate choice from his Punch editor, who may take a cue from The Times and will feel the suggestion of political tension from Parliament as well, Tenniel's work, like its design, can be very sensitive. The restlessness of the Victorian period on the radicalism of the working class, labor, war, economy, and other national themes was the target of the Punch , which in turn ordered the nature of Tenniel's subject. The Tenniel cartoon, published in the 1860s, made popular Irish portraits as sub-human beings, naughty in taste and most resembling orangutans in both facial and posture features. Many of Tenniel's political cartoons proclaim a strong animosity towards Irish Nationalism, with the Fenians and the Land leagues portrayed as cruel, monkey-like monsters, while "Hibernia" - the Irish personification - is portrayed as a beautiful and powerless young girl threatened by this. "monster" and turned for protection for his "elder sister", Britannia armored strong.
An Unequal Match, published on October 8, 1881, depicts a police officer who fights a criminal with just a 'stick' for protection, tries to show the public that the method's policing needs to be changed.
When examined separately from the book's illustrations he did from time to time, Tenniel's work on Punch alone said decades of editorial angles, often controversial and socially sensitive, were created to echo the British public's voice. Tenniel draws 2,165 cartoons for Punch, a liberal and politically active publication that reflects Victorian public mood for liberal social change; therefore Tenniel, in his cartoon, represents the UK's majority conscience for many years.
In his tennis career Tenniel contributed about 2,300 cartoons, innumerable small drawings, multiple double-page cartoons for Punch's Almanac and other special numbers, and 250 designs for Punch's Pocket-books. In 1866 he was "able to command ten to fifteen guineas for reworking a Punch painting as a pencil sketch", in addition to his "comfortable" salary Punch about Ã, Â £ 800 a year ". According to the Bank of England inflation calculator, Ã, Â £ 800 in 1866 will buy goods and services worth more than Ã, Â £ 85,000 by 2015 (with an average inflation of 3.1% per annum).
Alice
Despite thousands of political cartoons and hundreds of illustrative works attributed to him, much of Tenniel's fame comes from his illustrations for Alice . Tenniel draws ninety-two pictures for Lewis Carroll The Adventure of Alice in the Land of Miracles (London: Macmillan, 1865) and Through the Glass Looks and What Found Alice Is There (London: Macmillan , 1871).
Lewis Carroll originally described Wonderland himself, but his artistic abilities were limited. Engraver Orlando Jewitt, who had worked for Carroll in 1859 and had reviewed Carroll's drawings for Wonderland suggested he hire a professional illustrator. Carroll is a regular reader Punch and is therefore familiar with Tenniel. In 1865 Tenniel, after long talks with Carroll, illustrated the first edition of Alice's Adventure in the Wonderland.
The first 2,000 prints were sold in the United States, not Britain, because Tenniel objected to the print quality. The new edition was released in December 1865, carrying the date of 1866, and became an instant best-seller, enhancing Tenniel's fame. His drawings for both books have become some of the most famous literary illustrations. After 1872, when the Carroll projects were completed, Tenniel largely abandoned literary illustrations. Carroll then approached Tenniel to do another project for him. For this Tenniel replied:
It is a strange fact that with "Looking-Glass", the faculty of drawing for illustrated books departs from me, and [...] I have not done anything since then.
Tenniel illustrations for Alice's books were engraved on wooden blocks of agreement by Brother Dalziel. This carving is then used as a master to make copies of electrotype for actual book printing. The original timber blocks are held in the collection of the Bodleian Library in Oxford. They are not usually shown in public, but exhibited in 2003.
Style
The Effect of Nazarene Germany
The style associated with the Nazareth movement of the nineteenth century influenced many of the next artists including Tenniel. This style can be characterized as a "shaded line" in which lines on the side of numbers or objects are given extra thickness or drawn as double lines to suggest shadows or volumes. In addition, this style is very precise, with artists making clear hard lines throughout their figures, creating dignified figures and compositions, and refraining from expression and pale tones. While Tenniel's early illustrations carried out in the style of Nazareth were not well received, his encounter with that style steered him in the right direction.
Eyes for details
After the 1850s, the Tenniel style was modernized to include more detail in the background and in the form of numbers. The inclusion of background details corrects the previously weak Germanic shoot from its illustrations. Tenniel's more precise illustrations depict certain moments of time, locality, and individual character, not just general scenes.
In addition to a change in the specificity of the background, Tenniel develops a new interest in human kind, expression, and individual representation, something that will carry over into Tenniel's illustration of Wonderland. Referred by many as theatricalism, the hallmark of the Tenniel style probably stems from his earlier interest in caricatures. In Tenniel's first years at Punch he developed this caricature interest in the uniqueness of people and things, almost giving human-like personality to objects in the ward. For example, in comparison with one of John Everett Millais's illustrations of a girl in a chair with Tenniel's illustration of Alice in a chair, one can see how where Millais's seat is just a buffer, Tenniel's chair has a threatening and towering presence.
Another change in style is the shaded lines. It transforms from mechanical horizontal lines into hand-drawn hatching that greatly intensifies dark areas.
Grotesque
Tenniel's "grotesqueness" is one of the main reasons why Lewis Carroll wants Tenniel as his illustrator for Alice's books. An oddity is a disorder that instills a disturbing feeling that the real world may have ceased to be reliable. Tenniel's style is very strange in the dark atmosphere composition of exaggerated fantasy creatures that are carefully described. Often, the mechanism is to use the animal's head on a recognizable human body or vice versa, as did Grandville with such effects in the pages of the Paris satire journal, Charivari . In the Tenniel illustration, the strange is found also in the incorporation of creatures and things, defects and violence on the human body (as seen in the illustration when Alice drinks the potion and becomes great), the tendency to deal with the ordinary things of this world while exhibiting the phenomenon. The most notable thing to do in this strange fashion is that of the famous Tenniel Jabberwock image in Alice .
Illustration Alice combines fantasy and reality. Scholars such as Morris say that the Tenniel style changes can be attributed to the late 1850s trend toward realism. To operate it strangely, "is our world that must be changed and not a fantasy world." In our illustrations are constantly but subtly reminded of the real world, like some Tenniel scenes descended from a medieval town, a portico of Georgia, or a jacket examined on a white rabbit. In addition, Tenniel closely follows the text provided by Carroll so readers make sure that what they read, they see in the illustrations. The subtle points of this realism help convince the readers that all these strange Wonderland residents are only themselves, really real, they are not performing.
Images and text in Alice
One of the most unusual elements of Alice's books is the placement of Tenniel illustrations on the page. There is a physical relation from the illustration to the text, which is meant to unify the image with some specific point on the text. Carroll and Tenniel state this in various ways; one of them grouping. Two relevant sentences will compose the image, which may be better at determining the moment Tenniel wants to describe. This is a precise summation of the Tenniel image by text that adds to their "dramatic closeness". However, other illustrations work with texts in which they act as a description, though not as often as binding.
Another way in which illustrations fit the text is to have a wider and narrower illustration. Larger illustrations are meant to be centered on pages, where narrower illustrations are meant to be "left in" or run flush to the margins to be arranged alongside the narrowed column of the continuous text. However, the words walk parallel to the description of those things. For example, in this picture, we see how when Alice says, "Oh, my poor feet," it does not just happen at the foot of the page but right next to his feet in the illustration. Part of this narrower illustration is an illustrated "L", which is very important, because this is where Tenniel did some of his most impressive works. The top or bottom of this illustration will run the full width of the page but the other end will have some space on one side of the quadrant for the text.
Book illustration
Selected list:
Retirement and death
The highest award came to the elderly Tenniel as he gained the nobility title for his public service in 1893 by Queen Victoria. It was the first award ever given to an illustrator or cartoonist, and his associates saw his knighthood as gratitude for "raising a low enough profession into an unprecedented level of honor." With a knight, Tenniel raised the social status of black and white illustrators, and sparked a new sense of recognition for his profession. When he retired in January 1901, Tenniel was honored with a farewell party (June 12), in which AJ Balfour, then Chairman of the Lower House, presided.
Tenniel died in 1914 at the age of 93.
Legacy
The blow the historian MH Spielmann, who knows Tenniel, writes that the political influence contained in his cartoons was able to "swing parties and people, too... (cartoons) big "on the idea of ​​a popular reform that raced across the British public. Two days after his death, The Daily Graphic remembers Tenniel: "He has an influence on current political feelings that are almost immeasurable... While Tenniel draws them (his people), we always look to cartoon Punch for crystallizes national and international situations, and popular feelings about it - and never seems to be in vain. "The condition of this social influence resulted from the weekly publication of the fifty-year span of its political cartoon, in which the popularity of fame made it possible for the need and need for its illustrative work special, away from the newspaper. Tenniel is not only one of the most published illustrations in the United Kingdom, but as a cartoonist He blows into one of Britain's "supreme social observers" and is an integral component of a strong journalistic power. Also in 1914, NewWorld Tribune journalist George W. Smalley referred to John Tenniel as "one of the greatest intellectual powers of his time, (who) understood social law and political energy."
Sir John Tenniel's general exhibition was held in 1895 and in 1900. Sir John Tenniel is also the author of one of the mosaics, Leonardo da Vinci , in the Southern Court of the Victoria and Albert Museum; while his very high watercolor painting appeared from time to time in the Royal Institute of Painters exhibition at Water Colors, where he was elected as a member in 1874.
Source of the article : Wikipedia
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