Testimonials to Howard Pyle

In honor of Howard Pyle’s 161st birthday, here are a few kind words from some of his friends and admirers:

“You write about a beautiful sheet in the Graphic by Howard Pyle. If you mean a composition that reminds one of Terborch or Nicolaas Keyzer - ‘Penn and the Colonists’ - yes, I was struck by it too, so much so that I have ordered the issue. Yes, it is a damned fine thing.” (Vincent Van Gogh to Anthon Ridder van Rappard, c.May 9, 1883)

“It was not so much the actual things he taught us as contact with his personality that really counted. Somehow after a talk with him you felt inspired to go out and do great things, and wondered afterwards by what magic he did it” (Maxfield Parrish to Richard Wayne Lykes, March 28, 1945)

“I haven’t before had a chance to express to you my very heart felt admiration for your noble series of illustrations for my ‘Washington.’ They dignify and illuminate the work in every way.” (Woodrow Wilson to Howard Pyle, October 27, 1896)

“The virility and poetry and the beauty of it are remarkable” (Augustus Saint-Gaudens to Howard Pyle, June 20, 1902)

“It was a great idea, a fortunate idea, to re-write the Round Table Tales, & I am your grateful servant. You are giving them a new charm & grace & beauty; they have gained, not lost, under your hand. They were never so finely told in prose before. And then the pictures - one can never tire of examining them & studying them. Long ago you made the best Robin Hood that was ever written, & your Morté d’Arthur is going to be another masterpiece. It was a great idea; I am glad it was born to you.” (Samuel L. Clemens to Howard Pyle, January 1, 1903)

“Will Mr. Howard Pyle accept through me the love of seven big and little children to whom he taught the beauty of language and of line, and to whom, in a desert place, he sent the precious message of Romance.” (Willa Cather inscription to Howard Pyle in The Troll Garden, April 26, 1906)

“Eleven and twelve years old we were, most of us, but I’ll wager no one of us has forgotten him, no one of us but has looked back on those wintry afternoons in the pleasant fire-lighted studio many times, realizing how vital a part of our background, literary and artistic, it has become. I was at boarding school when the news of his death in Florence reached me, and I knew then I had lost a very real friend.” (Virginia Kirkus in The Horn Book Magazine, November 1929)

“One of the very best men I know anywhere, one of the pleasantest companions, stanchest friends, and best citizens, is Mr. Howard Pyle, the artist.” (Theodore Roosevelt to Gifford Pinchot, September 9, 1907)

“I think that pirate duel is the most terrific thing I ever saw. I had almost all the sensations I have enjoyed at a prize fight. Oh if I were only a pluto I’d have that in the middle of my shack and when I wanted to be lifted out of the dreary run of existence I would take a look.” (Frederic Remington to Howard Pyle, November 13, 1908)

“There are many in this world who radiate the feeling of love and earnestness of purpose, but who have not the faculty or power to impart the rudiments of accomplishment. There is nothing in this world to inspire the integrity of youth like the combined strength of spirituality and practical headway. It gives the young student a definite clew, as it were, to the usefulness of being upright and earnest. Howard Pyle abounded in this combined power, and lavished it upon all who were serious.” (N. C. Wyeth in The Christian Science Monitor. November 13, 1912)

“I myself have always wondered that more people were not affected by Mr. Pyle’s piercing fineness of spiritual vision.... I don’t know any other American who had his extraordinary combination of fine qualities.” (Dorothy Canfield Fisher to Charles David Abbott, May 20, 1925)

“The battle picture at St. Paul is absolutely one of the most remarkable pictures of modern times.... You, of course, know of Mr. Pyle’s work through his illustrations, but unless you know the man personally you cannot realize what a perfectly charming fellow he is and how very beautiful and strong his paintings. He seems to cover a very wide range of subjects with absolute surety, and while preserving historic detail he never loses vitality and intense personal quality, while his sense of the decorative and the picturesque is most remarkable.” (Cass Gilbert to Ralph Adams Cram, December 31, 1907)

“It is quite unnecessary for you to talk to me about Howard Pyle, for there is no man in the United States for whom I have a more profound admiration.” (Ralph Adams Cram to Cass Gilbert, January 2, 1908)

“I have never valued a friend more.” (William Dean Howells to Gertrude Brincklé, October 17, 1919)

Maxfield Parrish Turns 143

It’s Maxfield Parrish’s 143rd birthday today, so here are some Parrish-related posts, in case you’ve overlooked them.

The Staff and The Fiddle and Hints of Parrish

Howard Pyle’s headpiece for “The Staff and The Fiddle” in Harper’s Young People for August 31, 1886. It was later included - with some slight variations to the hand-lettering - in The Wonder Clock. It anticipates the work of Maxfield Parrish, no?

The Pyle-Parrish Connection

Did Maxfield Parrish actually study with Howard Pyle at the Drexel Institute in the winter of 1894-95? The topic has been debated over the years and James Gurney presents some evidence sort of against the notion, via Frank Schoonover. But Schoonover, who entered Pyle’s class at Drexel in Fall 1896, is not always a reliable witness. So, here is some opposing evidence from the horses’ mouths, as it were...

The Delaware Historical Society owns a draft of a letter Pyle wrote in December 1905, while negotiating with S. S. McClure about taking over the art editorship of McClure’s Magazine (as well as a larger scheme that never took off). In it, Pyle states:

It so happens that for years I have been teaching my pupils that that which really counts in the work of a true artist is not so much the ability to draw well and to paint well as it is to say something from the heart concerning Nature and humanity and in saying that thing so strongly that it shall make a vital appeal to other men and women, even if they do not know much about the technical excellencies of art.

The result of this plan of education has been that my pupils have been almost unusually successful in their work. For I have been able to train such artists as Mr Parrish, Miss Green, Miss Smith, Miss Oakley, Mr Aylward, Mr Schoonover, Mr Wyeth, Mr Arthurs, Mr Oakley, etc etc. so that their work has made a distinct impression upon the world of American Art - at least of American Magazine Art.

So much for Pyle’s point of view. But Parrish, too, touched on the subject three different times in letters (now at the Delaware Art Museum) to Richard Wayne Lykes, author of the invaluable thesis, “Howard Pyle, Teacher of Illustration”:

I was in his class at the Drexel Institute for only a winter and did not have the chance to know him as well as members of his class which was formed afterwards.... It was not so much the actual things he taught us as contact with his personality that really counted. Somehow after a talk with him you felt inspired to go out and do great things, and wondered afterwards by what magic he did it... [March 28, 1945]

You see, I knew him impersonally for one winter in a rather large class, whereas those thirty members of his class at Chadds Ford had a chance during the five summers to get thoroughly acquainted with him.... I really could not say just what part of my training could be attributed to H.P. Inspiration perhaps more than anything... [April 9, 1945]

I wish I could tell you more of my association with H.P. - anecdotes and the like, I saw far less of him than the other students, and hardly had a chance to get acquainted. I’ve an idea I dropped out of that first class at the Drexel Institute before the end, no doubt to work on soap advertisements and worse, dreadful stuff, but wasn’t I glad to get them! I had one grand day with him when he invited me down to Wilmington, and we drove around the countryside. He was living then in the fine old house of Ambassador Byard (?) [sic: Bayard] After that I never saw him again. [January 15, 1948]

Incidentally, Pyle moved out of the Bayard house, “Delamore,” in (I think) April 1896, so the visit occurred sometime in 1895 or ’96. Parrish also noted in a January 10, 1951, letter to Thornton Oakley: “Yes, I was in Howard Pyle’s class at Drexel for a while.”

So there you go.

And it’s interesting to point out that - I’m pretty sure - Parrish and Pyle’s wife, Anne Poole Pyle, were blood relatives: first cousins twice removed, to be exact: Anne’s grandparents, William Poole and Sarah Sharples, were Parrish’s great-great grandparents.

June 29, 1886: Master Jacob, Proto-Parrish

Howard Pyle's headpiece for his fairytale "Master Jacob," first published in Harper's Young People for June 29, 1886, and later (reduced and with new lettering by Pyle) in The Wonder Clock.

Beautiful pen-work with great design and characterization to boot.

This is where Maxfield Parrish came from.