Mark Twain and Howard Pyle’s Robin Hood

Mark Twain and G. W. Cable via www.twainquotes.com

On February 13, 1884, author George Washington Cable - then in the midst of an extended stay at the Hartford, Connecticut, home of Samuel L. Clemens (a.k.a. Mark Twain) - concluded a letter to his wife with this comment:

Mrs. Clemens is reading aloud to Mark & the children Howard Pyle’s beautiful new version of Robin Hood. Mark enjoys it hugely; they have come to the death of Robin & will soon be at the end.

The Clemens children were Susy, 11, Clara, 9, Jean, 3, and the “beautiful new version” was The Merry Adventures of Robin Hood of Great Renown, in Nottinghamshire, published by Charles Scribner’s Sons just a few months earlier. The first edition was bound in full leather, embossed with Pyle’s own designs.

Clemens’s fondness for the book endured: on New Year’s Day of 1903, he sent what was essentially a fan letter to Pyle, saying, “Long ago you made the best Robin Hood that was ever written.”

The particular copy from which Mrs. Clemens read that winter evening might still be around: a copy owned by Clara (which also contains a bit of marginalia in handwriting resembling that of Clemens: on page 145 the word “goodliness” is crossed out and changed to “godliness”), which was subsequently presented to the actress Elsie Leslie, now belongs to the University of Texas at Austin.

A Howard Pyle Proto-Selfie

Howard Pyle’s 1906 Self-Portrait (Collection of the National Academy of Design)

Howard Pyle took lots and lots of photographs - at least according to his daughter Eleanor - but I don’t know if he ever took the equivalent of a “selfie.” That is, unless you count the ones he “took” in ink and paint.

Pyle’s earliest known self-portraits date from 1884 and decorated his verse “Serious Advice” in Harper’s Young People; the last known one came along over two decades later.

In May of 1905, Pyle was elected an Associate of the National Academy of Design and was required to present a self-portrait to its permanent collection. Francis Davis Millet (who had notified Pyle of his election) assured him that “a portrait head is all that is needed & this isnt difficult for you, one of the pupils would be glad of the chance, I know.”

But Pyle didn’t get one of his pupils to do it - and he didn’t get around to doing it himself for almost a year. “I had thought ere this to have had the portrait in your hands,” wrote Pyle to the clerk of the Academy on April 16, 1906, “but many things have intervened to interfere with my purpose.”

At the time, Pyle was deep into his Art-Editorship of McClure’s Magazine and his large picture of “The Battle of Nashville” - but somehow he managed to deliver the painting on April 25th.

It’s funny, though, that - to my mind, at least - Pyle’s less “serious” self-portraits resemble him more than this one does. I assume he used a mirror in the making of it, so I flopped the painting and parked it in between photos taken in 1902 and 1906, and 1907 and 1910.

As you can see, the eyes and pince-nez are almost identical to the photo immediately to the right (which, I confess, I photoshopped to remove his hand), but Pyle doesn’t quite capture his slight underbite, nor the proportions of his mouth, nor the shape of his nose, and so on.

Then again, Pyle was a reluctant or resistant portrait painter - this despite the fact that he incorporated plenty of portraiture into his illustrations: just look at his depictions of George Washington, Thomas Jefferson, Abraham Lincoln, or Oliver Wendell Holmes. The challenge of capturing the likeness and personality and spirit of someone seated directly in front of him (or reflected in a mirror) seems more than Pyle could handle. As he told his friend Cass Gilbert in a 1910 letter, shortly after sending what he considered to be a failed portrait of Mrs. Gilbert, “I do not like portrait painting; indeed, I hate it.”

“Serious Advice” - Seriously?

I remember when I first saw this illustrated verse by Howard Pyle: I thought, “Wait a second - THIS isn’t in Pepper & Salt!”

No, it isn’t. It almost seems like a weird-alternate universe-racist parody of Pyle. But, unfortunately, it is, indeed, his handiwork, and one that shows an ugly side of him and the world he lived in.

Yes, for some reason, Pyle made it and Harper’s Young People printed it in their June 24, 1884, issue. But somebody had a change of heart, and it was the only piece of its kind that didn’t make it into Pepper & Salt when it was published sixteen months later. A good thing, too - I mean, that it was suppressed and didn’t live on in book-form. For better or worse, though, I wanted to show it and air some of Pyle’s dirty laundry. There’s not a lot, but the little there is is still cringe-inducing and unforgivable.

And, of course, Pyle also had to immortalize himself in the illustration: the mutton-chopped jester and adviser to the “Little Ethiopian” is Pyle himself. In fact, the two images are his earliest known self-portraits. Compare them with a photo taken at about the same time:

By the way, Pyle-as-jester turns up again in another illustrated verse, “Venturesome Boldness” (Harper’s Young People for August 26, 1884), and later in Pepper & Salt itself - in the frontispiece and the headpieces for the Preface and Table of Contents.

The original pen-and-ink for “Serious Advice” resides at the Delaware Art Museum, but I don’t know how often it sees the light of day.

Witchcraft

Yet another witch by Howard Pyle - and surely one of my all-time favorites.

This was the headpiece for “Witchcraft” by Edmund Clarence Stedman in Harper’s New Monthly Magazine, for December 1884. Editor Henry Mills Alden’s letters to Stedman allow us to date the creation of this picture with some accuracy: on May 20, 1884, Alden wrote, “The subject you propose is an especially attractive one. I think Pyle would do both pictures well; but as you will have the poems ready so soon, we will leave that matter to be determined afterward.” And on August 28, Alden wrote, “Last week the illustrations came in - i.e. the engravings. I send you proofs of these...” So Pyle must have painted this in June or July 1884 (well, plus or minus a few days into May and August). It was engraved by Thomas H. Heard.

The original has yet to surface - that is, if it exists at all: in the early morning of December 8, 1902, a fire swept through the home of William Charles Le Gendre in Mount Kisco, New York - and one of Pyle’s three black and white oil “Witchcraft” paintings was destroyed. Perhaps Pyle himself had given the work to Le Gendre, who was a friend and one of the illustrator’s roommates at 1267 Broadway in 1877-78.

The glowing eyes of the witch and the bleak landscape call to mind a scene from F. W. Murnau’s Faust (starting at about three minutes in - it still makes my hair stand on end).

April Fools from Howard Pyle, Part 3

This fool - a detail from the illustrated verse “Venturesome Boldness” (Harper’s Young People, August 26, 1884) - has the distinction of being one of Howard Pyle’s earliest known “fool” pictures and also one of his earliest known self-portraits. Yes, that him on the right. The same character appeared two months before in “Serious Advice” in Harper’s Young People for June 24, 1884, (but of that the less said the better) and in various illustrations after, including the frontispiece of Pepper and Salt.

Mark Twain on Howard Pyle

Today is Mark Twain's 174th birthday - enough of a reason to talk briefly about his (or Samuel L. Clemens's) connection to Howard Pyle.

Of course, the obvious link is that Pyle illustrated Mark Twain's "Saint Joan of Arc" for Harper's Monthly (December 1904). When the magazine initially approached Pyle about the project, they wrote: "It may interest you to know that in [Clemens's] letter accompanying the manuscript he speaks of you as the one man in this or any other country who can make pictures for it." And when Harper's informed Clemens that Pyle had agreed to illustrate the piece, he replied, "I am glad that an artist rich in feeling & imagination is to make the pictures."

But Clemens was already a longtime admirer of Howard Pyle, the artist and the author. Back in early 1884, while staying with the Clemens family, George Washington Cable had noted, "Mrs. Clemens is reading aloud to Mark & the children Howard Pyle's beautiful new version of Robin Hood. Mark enjoys it hugely...." And on New Year's Day in 1903 (shortly after Pyle attended Mark Twain’s 67th birthday party in New York), Clemens reiterated his opinion: "Long ago you made the best Robin Hood that was ever written," and in the same letter he praised Pyle's new version of the King Arthur legends: "They were never so finely told in prose before. And then the pictures - one can never tire of examining them & studying them."

So, by way of a birthday present, here is Pyle's "She believed that she had daily speech with angels" from "Saint Joan of Arc" by Mark Twain. A beautiful thing.