Frank Reynolds, R.I.



Frank Reynolds, R.I., by A.E. Johnson

The Project Gutenberg EBook of Frank Reynolds, R.I., by A.E. Johnson This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net
Title: Frank Reynolds, R.I.
Author: A.E. Johnson
Release Date: December 2, 2004 [EBook #14238]
Language: English
Character set encoding: ISO-8859-1
*** START OF THIS PROJECT GUTENBERG EBOOK FRANK REYNOLDS, R.I. ***

Produced by Robert J. Hall

[Illustration: TONY WELLER OF THE BELLE SAUVAGE]

FRANK REYNOLDS, R. I.
BY A. E. JOHNSON
CONTAINING 46 EXAMPLES OF THE ARTIST'S WORK IN BRUSH, PEN, AND PENCIL

PREFACTORY NOTE
In presenting under the title of "Brush, Pen, and Pencil" the series of books of which the present volume forms part, the publishers feel that they are meeting a demand which has long existed but has hitherto not been supplied. It is an unfortunate circumstance of the conditions which affect the modern artist who chooses black and white for his principal medium, that as a general rule his work--or, at all events, the reproduction of it--is ephemeral only. In respect of much that appears in the illustrated Press this is small matter for regret; but there is good reason to believe that opportunities of obtaining in permanent form some record of the work of the leading men amongst those artists who work for the Press would be welcomed. It is to afford such opportunities that the present series is issued; and it is hoped that in the volumes composing it the public will have pleasure in finding representative examples of the work with brush, pen, and pencil of the men whose skill and fancy have from time to time delighted them.
For permission to reproduce a very large number of the drawings by Mr. Frank Reynolds which appear in the present volume the publishers wish to acknowledge the courtesy of the proprietors of the Sketch, in the pages of which they first appeared. Their thanks are equally due to Messrs. Bradbury, Agnew & Co. Ltd. for kind permission to reproduce three drawings from the pages of Punch.

LIST OF ILLUSTRATIONS
IN COLOUR
TONY WELLER OF THE BELLE SAUVAGE THE INTRODUCTION FRIVOLITY THE WARRENER
IN BLACK AND WHITE
STUDY IN PENCIL PEN-AND-INK DRAWING FROM "PUNCH" WORKING PARIS AT LUNCHEON THE DARE-DEVILS "CHACUN" WITH HIS "CHACUNE" BETHNAL GREEN THE REAL ARTIST NOTE FROM A PARIS SKETCH-BOOK THE SUBURBANITE FIRST SKETCH FOR THE SUBURBANITE A GOOD STUDY PEN-AND-INK DRAWING FROM "PUNCH" A TRAGEDY IN MINIATURE OUR CLUB HAVING THE TIME OF HER LIFE LE 'IGH KICK A SPEECH AGAINST THE GOVERNMENT FELIX OF THE "LAPIN AGILE" VIVE L'ARMéE "GAZED ON HAROLD" FROM A PARIS SKETCH-BOOK THE DES(S)ERTS OF BOHEMIA GOING IT!
Also Nineteen smaller illustrations mostly reproduced from sketch-books

[Illustration: STUDY IN PENCIL]

FRANK REYNOLDS. I.
It has been said of Tolstoy, anatomising the grim skeleton of human nature, that his writings are more like life than life itself. Of Frank Reynolds, with gently satirical pen and pencil depicting the superficial humours of modern life, it might be said that his drawings, too, are more humanly natural than real flesh and blood. It is the peculiar faculty of the true observer that his eye pierces straight to the heart of what he sees, and his mind, disregarding mere detail, thereby receives and retains a clear perception of the essential, which those of less clear and direct vision fail to grasp more than momentarily, though they hail it with instant recognition when in its naked simplicity it is set before them. The process is unconscious, or at least but semi-conscious; for your professed observer has never that keen insight which, being native, is not to be acquired by even the most assiduous practice, and alone permits of truthful analysis.
[Illustration]
In the making of the genuine humorist the faculty of observation is the first necessity. Consider the great pictorial humorists, whether dead or living, whose names are familiar in the mouth as household words. That they gained acknowledgment by masterly handling of the medium in which they chose to work is not to be denied. It is by the peculiar distinction of his technique, indeed, that the work of each, in a general way, is called to mind. But this fame was not achieved solely upon purely artistic merits. Charles Keene, George du Maurier, Phil May, Raven Hill, Bernard Partridge--it is rather for the happy fidelity of their transcripts from life than for the artistic sureness of their hands that they are and will be remembered.
It is the possession of just that subtle power of quiet but comprehensive observation which has obtained for Frank Reynolds the unique position which he occupies amongst the humorous artists of to-day.
[Illustration: LITTLE WILLIE: You'll catch it, Gerald, when mother sees you!
GERALD: Why? Is my collar dirty?
From "Punch."]
For unique