New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-12-08
TALK OF AN ILLUSTRATOR.
WHAT MR.. A. f STEINER THINKS ABOUT
BOOK AND MAGAZINE ILLUSTRATIONS.
Paris. November %, Isl

Paris November %, 1895.
In his drawings for the recent edition of the prose
works OF Edgar Allan Poe, Mr.. Albert h. Steiner
seems to have completely broken away from MS
earlier style of black and white work. commented
on this fact during recent chat with him at his
studio
THAT is Just what | wish to do" he said. The
influence Of modern Illustrating is TO make special
lists of artists, ana will not be specialist
"Do you mean that you have abandoned the
style of work you used in Prue and |?
.By no means 1t is a method we'll adapted to
the greater par. Of magazine and book illustrating
but that is no reason why should always use
IT, An artist must to do his work in the way that
best to him. II ne cannot do 1t in that way
some else perhaps can"
Then a gentle feminine voice broke in: But.
10 bring down commonplace things. II you went
to a confectoners who was in the habit OF serving
you with delicious chocolate cakes to your taste
and he should say: 4 have decided not to make
chocolate cakes just now / am making some very
nice cocoanut cakes. what would you do?'
IF he were a good baker | should try the cocoa
nut cakes Mr.. Sterner very stoutly responded
''and II l didn't Ike them should lay the fault to
my erratic taste and not to the bakers skill; but
as the little voice strove to apologize for bringing
In the results OF a patisserie's art enforce the
argument Il realize that the public voice is the
strong factor IN illustrating. What you have once
done we'll Il wants over and over again. and the
clever man Is the one who does 1t; but am not a
clever man. returning to his easel to add some
touches to a pastel OF redhalred girl with ivory
flesh rising from scarlet velvet gown.
Tell me just where you stand. not alone an
illustrator. but a painter" | asked
81 do not stand anywhere, because whatever l
do hope TO change to something better tomorrow.
But what try to do is 10 hunt for the best, the
highest artistic possibilities in every work / have
II it illustrate story, not only hunt for the
salient artistic points in the story, but also those
which make the best pictures They may not be the
strongest situations from literary sense, but they
are the best from artistic one. rather the
strongest points as | see them"
Another voice interrupted: "Is not that really
a great advantage to the reader who then has two
points Of view, the authors and the illustrators?
That is great point" he replied. ''and
people beginning realize 1t and ask for It.
why should have the great quantity of illus
trated literature thrust the reading public? The
larger part OF 1t is very bad. be sure but the
periodicals. giving the public what they ask
for and It is greatly TO the credit OF few pub
icat.ons that they remain the standard
they have set, which means the very best literature.
and the very best conslsten, with the lmita-
tons
tratlng?"
Yes" Mr. sterner emphatcally replied. IN al
all instances. Any black and white drawing
is limited to start with"
But there may be color in black and white"
"Or course II a man can illustrate at all he must
put color in black and white. but whether IT is
done in charcoal. pen and ink, wash, or oils II is
to certain extent limited. And then the ten
dency is toward simple catchy work that only
says what the author has already said, and very
often 1t is worth repetition and II 1t Is 1t does
not make good pictures. The author may put a
hat girl and place her sitting. and the Illus
traitor mods that she looks better standing and with
out the hat The author knows the character he
has created you say, but when the question arises
should not the artist. II possible. make something
out of the subject than the author has?
Then In the question OF reproduction.
American magazines have progressed wonderfully
In this respect during the last few years, but
there is still much TO be desired, and fine subtle
effects apt to be lost
The illustrator is at the mercy OF the engraver
and printer to a very large extent And then why
because man has been doing pretty girls stylish
gowns. should he continue to do pretty girls when
he may find his meaning best expressed by
TREY opposite character"
Just then some one brought In the subject OF the
series OF pasels that Mr.. Steiner was working on
at that moment. and charming interruption IL
proved to be. They consisted OF a dozen pictures
mere notes. many OF them OF some bits of Fon-
tainebleau forest. or graceful pose OF a feminine
figure The landscapes were particularly interest
ing. and Mr.. Steiner brought out a picture done
some five years ago to show the change In his
methods. II was a most carefully studied bit OF
French country landscape but dropped woefuly
by comparison with the others
This he continued us a bit Of country as
saw IT, the other Is transcription of the Idea thar
a bit of country life left my mind"
Then you mean that you are an impressionist?'
said a young listener who COMPOUNDED "mpression-
ism" with overabundance OF purple and scarlet
paint
Certainly. have grown to be an impressionst.
Why should one paint every knot on a tree when
the feeling Is one OF beautiful green and brown
tones? The Idea Is 10 hunt for the finest most
beautiful thing In the subject. He who gets the
hnsa is ths greatest artist for he gives you some