Charles D. Maginnis. Pen Drawing. An Illustrated Treatise

the effective poster design by the "Beggarstaff Brothers," Fig. 69, and that by Mr. Penfield,

Fig.70. Of course the more conventional the design the less regard need be paid to anything like

a logical disposition of color. A figure may be set against a black landscape with white trees

without fear of criticism from reasonable people, provided it looks effective there.

FIG. 70

EDWARD PENFIELD

Modern Decorative Draughtsmen A word or two, in conclusion, concerning some of the

modern decorative draughtsmen. Of those who work in the sixteenth century manner, Mr.

Howard Pyle is unquestionably the superior technician. His line, masterly in its sureness, is rich

and charged with feeling. Mr. H. Ospovat, one of the younger group of English decorators, has

also a charming technique, rather freer than that of Mr. Pyle, and yet reminding one of it. Mr.

Louis Rhead is another of the same school, whose designs are deserving of study. The example

of his work shown in Fig. 71—excellent both in color and in drawing—is one of his earlier

designs. Mr. J. W. Simpson, in the book-plate, Fig. 72, shows the broadest possible decorative

method; a method which, while too broad for anything but a poster or a book-label, is just what

the student should aim at being able to attain.

FIG. 71

LOUIS J. RHEAD

FIG. 72

J. W. SIMPSON

Some of those decorators whose work shows a Japanese influence have a most exquisite

method. Of these, that remarkable draughtsman, M. Boutet de Monvel, easily takes the first

place. Those who have had the good fortune to see his original drawings will not easily forget

the delicate beauty of outline nor the wonderfully tender coloring which distinguishes them. Mr.

Maxfield Parrish is another masterly decorator who is noted for his free use of Japanese

precedent as well as for the resourcefulness of his technique. The drawings of Mr. Henry

McCarter, too, executed as they are in pure line, are especially valuable to the student of the pen.

In respect both of the design and treatment of decorative subjects, the work of the late Aubrey

Beardsley is more individual than that of any other modern draughtsman. That of our own clever

and eccentric Bradley, while very clearly confessing its obligations, has yet a distinctive

character of its own. The work of the two latter draughts men, however, is not to be

recommended to the unsophisticated beginner for imitation, for it is likely to be more harmful

than otherwise. Nevertheless, by steering clear of the grotesque conventions with which they

treat the human figure, by carefully avoiding the intense blacks in which a great deal of their

work abounds, and by generally maintaining a healthy condition of mind, much is to be learned

from a study of their peculiar methods.