UNSUNG HEROES OF ILLUSTRATION PART 17

[@Susie_Floozie]

Whoa, Mead Schaeffer's command of composition and lighting knocks me out! That's such powerful stuff, even when the figures are in repose.

[@petebeard]

Hi again and my gratitude for your recent batch of comments. I'm glad to hear you are encountering favourites and unknowns appearing in the various instalments.

[@rickcroucher]

You have done a great service for those who love the histories of illustrators

[@petebeard]

Hi there. KZbin tell me I haven't responded to your comment - I thought I had. So very belatedly thanks a lot for your positive response to the videos.

[@DavidLettvin]

Pete - I have a personal collection that includes many of the octavo volumes printed by Dodd-Meade (US) or Bodley Head (UK) and have been a great admirer of the work of Frank C. Papé. His sense of humor and interpretation of J.B. Carell and A. France were so fine that, In a note I found at Yale's Beinecke Library, Cabell wrote his thanks and a fear that the text might not live up to F.C.P.'s glorious illustrations. I also have some work by Rockwell Kent, four of Lynn Ward's "novels without words", some Clara Tice, some Jean Debosschere, Doré's Rabelais and Munchaused, the Petersham illustrated Rootabaga Stories, and Simes' Illustrations of Lord Dunsany. Obviously, I have been enjoying this series of yours enormously. Thanks so much for your knowledge, research, and excellent production work.

[@mijiyoon5575]

I luv posters & the artists from years back👍👍👍👍👍 'his battery ran out' good way to put it *Pete Beard*

[@ButchCurry]

I've never seen a close-up of a Mead Schaeffer original like you have in this episode! Thanks for sharing that, it really shows off those thick, juicy paint strokes!

[@petebeard]

Hello and thanks a lot for yur appreciation. Whenever the pixal quality of the originals will stand it I like to get close up to examine technique, and particularly the application of opaque paint.

[@tessellatiaartilery8197]

Thank you very much. Always enjoying this series.

[@petebeard]

Hello and my thanks for continuing to express your appreciation. It's very welcome.

[@alexandrebeaudoin-laporte5325]

3:39 Leonetto Cappiello

[@farmerfox3332]

Every time I watch these videos I want to go and have a coffee with one of these fantastic illustrators.....then I realize I am 100 years to late...lol

[@petebeard]

Hello again and thanks for watching. Allow me to caution against binge watching though - you really can have too much of a good thing. And regarding your query about paper it rather depends who you're talking about and what paint they used. Oils were of course painted on canvas or board, watercolour on watercolour paper of varying makes and levels of absorbency. They are still in use now although brand names will have come and gone. But if you were using ink line too you might use something a bit less absorbent. And gouache and tempera and poster paint could be used on virtually any surface depending on how opaque you wanted to use them. For more detailed information just go to one of the many 'how to' painting channels/sites there are and whatever they are using is pretty much what was used in times gone by.

[@farmerfox3332]

Good advice. I will spread them out throughout the week like a tv show. Thank you for the paper advice. There are so many varieties out today and thought everyone had 1 common paper 100 years ago that I could give a try. Great videos.

[@robertdufour2456]

continually amazing! Thank you for this outstanding series

[@petebeard]

Thanks again for your continuing support and appreciation. It's good to see some of the back catalogue are still getting views.

[@andrietsa]

Love the series. On the other hand I am mortified by the countless illustrators who lost their eyesight and got depressed and soon after lost their will to live. For me as an Illustrator losing eyesight made already the list of things I dread...

[@petebeard]

I know it sounds bad - and so is the list of suicides. But I don't think it's confined to illustrators. Trust me, old age is really not much fun - but it's better than the alternative. Sounds like you've got a few years left in you yet.

[@johannsmithe2570]

Another thing, regardless of their style or technique, across the board all those featured seem to pass away. What's up with that? Answer: Wait and see 😏

[@johannsmithe2570]

That was great Pete Thanks 4:52 As Jules Cheret's poster "Vin Mariani" was to cocaethylene, Leonetto Cappiello's poster Maurin Quina was to absinthe. The character depicted is the La fee verte (the green fairy) absinthe, a combination of the herbs anise, wormwood and fennels in a fifty percent or more alcohol solution. The Belle Epoque posters correlated to the rise in alcoholism in France between the Franco-Prussian War and WWI. Advertising reflected two sides of the times, grain based alcohol verus 'natural' wine. Grain based alcohol was identified with the working class while herb infused wines were for the upper bourgeois supported by the winery industry and temperance groups. Guess is, people thought absinthe effects the fertility rate so it was banned just in time for a crop of males for WWI. Of interest, at that time 'green' wallpaper contained the killer arsenic. The 60's 'green' contained THC a chemical compound similiar to absinthe. Note: Cappiello's poster is for a quinine drink although it shows a green fairy (insert emoji for la fee verte)

[@petebeard]

I'll drink to that...

[@n3bie]

Still in love with this series. Thanks for another great video!

[@telemachus7732]

Thank You! Particularly interesting where the artist had served/ been through war.

[@petebeard]

Hello and thanks a lot for your comment. Of course because of the historical period the series covers quite a few of these illustrators did actually fight - and some died - in 1914 to 1918.

[@alexandrebeaudoin-laporte5325]

10:57 Mead Schaffer

[@johncollado1151]

Thanks Pete, another very enjoyable video and collection of very talented artists. Looking forward to the next.

[@petebeard]

Hi again and thanks again. In response to your query about my own back catalogue a search on youtube for pete beard portfolio will take you to a video reel of mostly digital but some trad work

[@johncollado1151]

@@petebeard I took a look, never thought to search for a portfolio separate from your youtube channel. Nice work, is most of it vector based? I don't do much vector myself, but if you would like to look at my portfolio, just type .com after my name and it will take you there. Thanks again, I never really studied much of the masters in school and now that life is winding down I'm really enjoying your videos and surprisingly enough, I'm actually learning something!

[@petebeard]

Hello again John. Very nice work too. Self taught you say? Well so were many of the heroes and it didn't do them any harm. University is somewhat of a con - in this country at least. And no when it's digital its bitmap every time for me. Used to be photoshop but now I'm retired what little I do is in affinity photo.

[@johncollado1151]

@@petebeard Hi Pete, thanks for the kind words. I'm retired also, all I do now pretty much are book covers and children's books when I can get them. I painted traditionally with an airbrush but it's getting hard to see the needles anymore, digital is much easier on the eyes. I use Photoshop too, but my main software is Clip Studio Paint.

[@alexandrebeaudoin-laporte5325]

6:22 Frank Papé

[@JesseMartin]

Love this channel!

[@petebeard]

Hello and I'm very glad to hear it.

[@Leotagorax]

Another fantastic installment! Thanks

[@petebeard]

...and thanks to you for the comment.

[@DavidLettvin]

Oh, and a minor correction. A critic who disliked the author's style once said, "Tell Cabell to go to Hell." J.B.C. responded, "Tell the rabble my name is Cabell." So the accent is on the first syllable of his name.

[@petebeard]

Hello and many thanks for your comment and apprecition of the channel. I'm glad I've been featuring illustrators whose work you've been collecting and admire. There's a couple f names in there I don't recognise so I'll have to do a bit of a search for them. And apologies for the mispronunciation - I'd never heard the name and assumed it must be a bit French.

[@emptyentertainments7914]

Thank you. Illuminating as always.

[@petebeard]

and thanks for watching -more illumination on its way

[@Borella309]

Thanks Pete - and congrats on reaching your 1000th sub!

[@aviationart-AR]

What a beautiful channel Mr. Beard. Congratulations. Could be interesting to do a video on the illustrator’s studios. How they worked in old times. Greetings from Buenos Aires, Argentina

[@petebeard]

Hello and welcome to the channel. And I took a look at your paintings online and admire them greatly. It's always good when people in the profession respond well to the channel. And thanks for the suggestion, although Im not convinced I could find enough visual material to make a video about it. I'll do a bit of searching...

[@aviationart-AR]

@@petebeard thank you very much for your kindest reply according to my artworks. I have some Step by Step Magazine in my library and ate the end of every publication tell the american illustrator history. Unfortunately the magazine was not imported to Argentina for many years ago. Fortunately I found your channel and your videos and not only inspire me if not make me happy to know about the american illustrator history. Kindest regards

[@johannsmithe2570]

C.A. Garcia *"The Artist in His Studio"* by Alexander Lieberman, 1960, black & white photographs, is a nostalgic gimpse into early twentieth-century famous 'modern' French painter's, not illustrators, studios. 'Modern' indicating Picasso, Braque, Derain and similiar painters around Paris at that time. Not the Classical trained painters with their ornate oriental rugs and plush furniture. There is revised edition 1988 but read the comments in the review section. Seems like illustrators need less space, a drafting table or board with a side table for the supplies.

[@aviationart-AR]

@@johannsmithe2570 thank you very much for your reply. Best

[@kustomweb]

Great, as always. I appreciate you more than you can imagine. Le petit Nicolas.

[@petebeard]

Thanks for your continued support - that means a lot to me.

[@alexandrebeaudoin-laporte5325]

8:48 Gus Bofa

[@K5J000]

deez

[@kidmohair8151]

thank you Mr Beard for going to all this trouble to if nothing else, force me to confront my own mortality... and provide a subtle kick in the dérriére to get a move on... which I suppose is a bit of a sobering thing to say, but none the less true for it being so

[@petebeard]

Hello and thanks again for the comment. Regarding mortality I'll bet I'm way ahead of you in the queue and this channel was my last chance to do something meaningful while I'm still on my hind legs...

[@kidmohair8151]

@@petebeard I've got shares in a bridge you might be interested in...they're a steal (that's a joke in poor taste, I'd say.) I'm not a betting man, so...you win?

[@AnekdotTheImmortal]

Gus Bofa was amazing.

[@petebeard]

It warms my old heart to hear you say that. Much under-rated and unknown.

[@alexandrebeaudoin-laporte5325]

0:59 John Hassall

[@glynstimpson]

Great video s. Thanks

[@Ellesmere888]

Thank you so much. I have learned about some beautiful people.

[@petebeard]

...and a big thanks to you for continuing to follow the channel

[@lucyf719]

Amazing discovery today!

[@petebeard]

Hello and thanks a lot for liking. I hope you'll watch more.

[@ewqeruijasksnd]

Mead schaeffer's painting style seems very similar to Dean Cornwell's to me.

[@petebeard]

Hello and yes it is. I must admit without prior knowledge of who did what I would struggle to tell quite a few of those American realist painters apart.

[@flappoid]

Have you made mention of Mike Dolas?

[@petebeard]

Hello and no I haven't. Until you commented I had never heard of him or encountered his work in all the searches I've conducted. I'm intensely grateful for you passing on the knowledge. The bad news is that - and there's no reason at all you would be aware of it - the cut-off date of birth for inclusion in the series is 1910. However I'm pretty sure I'll he able to include him in another context down the line. Thanks again.

[@elizabethcasler8392]

Why the horse on the title art of each piece?Just wanna know.

[@petebeard]

When I made the first video I wanted an image by one of the featured illustrators that was heroic and it was a knight on his steed. Then it became a game for me to see how long I could keep that theme going, It isn't always a horse and it isn't always a human on it but the rider and his/her mount stuck with me.

[@nickluther9341]

Where did you find the image of the Becuwe poster?

[@petebeard]

Sorry - no idea. I don't keep records. Try a google image search for it.

[@dhanson890]

Dear Mr. Beard, I have been really enjoying your series and was particularly happy to see J. Carlos, a Brazilian arist, featured in it. If I could suggest, there is another Brazilian you could enjoy and show to the world. His pen name is Belmonte (1896-1945) and he was quite prolific. There is something about him (in Portuguese) here: keyimaguirejunior.wordpress.com/2015/07/09/belmonte-o-chargista-e-o-ilustrador/ There is also a French artist who made several World War I paintings for L’Illustration Française. No matter how hard I try, I couldn’t find his work on the internet. Thanks for your great work.

[@12theotherandrew]

I have much sympathy for Hassall and his lack of business skills.

[@petebeard]

There's a line behind me when it comes to bad business decisions. On balance I struggle to recall any good ones.