Frank Reynolds, R.I. | Page 5

of types as Frank Reynolds excels in must be the outcome, not of one "thing seen," but of reiterated observation of the same thing in identical or closely similar guise. The results in either case vary as the method employed. Mrs. Gamp, the outcome of a single observation, is a type certainly, but exaggerated and "founded on fact" rather than true to life. "The Suburbanite" (see p. 24), though an equally imaginary portrait, is the real thing--the absolute personification of a type or class.
[Illustration]
In the case of Reynolds, his studies of types are the result of an exceptional power of observation coupled with a very retentive memory. His keen eye notes--often unconsciously, as he admits--the small eccentricities by which character is revealed; his sense of humour emphasises them, and his memory retains them. As a result, when he essays to portray a type, there rises before his mental vision, not the figure of this individual or that, but a hazy recollection of all its representatives that he has ever come into contact with. The misty impression materialises as he works, and there grows under his hand a portrait which draws from us an instant smile of recognition, broadening as we perceive the veiled humour and satire that lurk beneath the skilful emphasis which has been laid upon the subject's salient characteristics.
[Illustration]
But though his character studies are so largely the result of memory, it must not be supposed that his drawings are hastily conceived or carried out. As a discerning critic can guess Frank Reynolds is slow and careful in his method, and though the central idea of a drawing is frequently the inspiration of the moment, its elaboration is a matter which occupies time, and the picture passes through many stages before attaining in the artist's mind completion. To lay readers it may be of interest to be initiated into the mystery of the gradual development from germ to finished drawing. For their benefit is reproduced (p. 24) the initial rough sketch made for the portrait of "The Suburbanite," to which allusion has been made above. It will be seen that all the essentials are there in a raw state, and a comparison of this rough sketch with the finished reproduction will give some hint of the patient labour and careful thought which has gone to the making of the latter.
[Illustration]
To mix as an observer in all ranks of society--especially the lower and more interesting ones--has always been to Frank Reynolds a matter of reflective amusement. The comedy of life affords him never-failing entertainment, for the world can never be dull to the man with the saving grace of humour and a quizzical interest in his fellow men. All is fish that comes to his net, for whether he touches off the foibles of Belgravia or records the broader humours of Bethnal Green he is equally happy. In the well-remembered series of "Dinners with Shakespeare," for instance, he illustrated with genial humour in half a dozen cartoons as many mannerisms of the dinner-table. The drawing which is reproduced opposite to page 56 portrays types that are familiar to all who know the small restaurants of Soho. The historian of the future, I sometimes think, who may wish to describe society in the early part of the twentieth century, will be fortunate if he contrives to illustrate his volume with a collection of contemporary drawings by Frank Reynolds. They will speak more eloquently than any narrative which he may compile from the most diligent searching of written records.
[Illustration: A TRAGEDY IN MINIATURE. From "Paris and Some Parisians"]
[Illustration: OUR CLUB. IMPATIENT MEMBER.--Aren't there any waiters in the Club? WAITER (politely). Yessir. How many would you like?]

FRANK REYNOLDS. IV.
Of Reynolds' exquisite refinement in the art of character drawing, his pictures of life in Paris afford excellent examples. Impressions of Paris through English eyes are familiar enough; but too often they are distortions. The artist is too concerned with the obtaining of an "effect" to be troubled by a strict adherence to truth. No such charge can be levelled against "Pictures of Paris and Some Parisians," as the series of drawings which Frank Reynolds contributed to the Sketch in 1904 was entitled. He viewed Paris through eyes which magnified, perhaps, but never distorted; and his impressions, as set down on paper, carry that instant conviction, even to those who have never crossed the Channel, which is the hallmark of truth.
[Illustration]
In some cases these Paris drawings, many of which are reproduced in the present volume, are literal portraits from life. But for the most part they are the result of that close and absorbent observation which has been mentioned as characteristic of the artist's method. The "Pictures of Paris" were no hurried impressions received during a flying visit, but the outcome of a long stay