Self Portrait by Newell Convers Wyeth[/caption]One of the most successful illustrators of all time, Newell Convers Wyeth studied under Howard Pyle between 1902-1904 in Chadds Ford. Perhaps more than any other student, he took Pyle’s dictates completely to heart. He is the preeminent example of the results of Pyle’s teachings, following every precept, religiously. During his career, Wyeth painted nearly 4,000 magazine illustrations for many magazines and books. An early aficionado of Pyle’s, Wyeth became his greatest advocate even settling his family in the Brandywine area, where many of them still live today.
Much of NC Wyeth’s art embraced an American Western theme, filled with cowboys and Indians, gun fighters and gold miners. He also illustrated popular kid's books topped off with pirates, knights, and brigands, and novels entitled Treasure Island and Tom Sawyer - which established visual images of the characters in young readers minds eyes, for generations. Amongst all his illustration plaudits, NC Wyeth is famous for being the father of artist Andrew Wyeth and the grandfather of artist Jamie Wyeth–a patrimony of major consequence in American art history.
N.C. sold his first illustration to the Post in 1903, at 21 years of age, and his first book commission was accepted in 1911, illustrating Treasure Island for the noted publisher, Charles Scribner. So well received was his first book, that he illustrated a whole range of ‘boys adventure books’ which came to be known as Scribner’s Classics, including Kidnapped, Robin Hood, Robinson Crusoe, The Boy’s King Arthur, and The Last of the Mohicans, and twenty other titles. The Scribner’s Classics have never waned in popularity and are still in print. Wyeth’s valiant and heroic-type characters, created prototypes of our American heroes, which have lasted and set the standard for movie, television, and computer game heroes. Many of our real life heroes are modeled on those first envisaged by NC Wyeth as most boys see themselves in roles of an heroic nature and act accordingly when the occasion arises.
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Born in Needham, Massachusetts, in 1882, Newell Convers Wyeth showed an early passion for drawing and was encouraged by his family. From 1903, until his tragic death in a 1945 car accident at a railroad crossing, N.C. Wyeth set new standards for illustrators, in styles, technique, and imagination. He had an extraordinary ability to create living characters from an author’s imaginary story. Because of his fantastical imagination, he envisaged all aspects of a story, often times identifying crucial elements simply overlooked by the author himself. Cooper, DeFoe, Irving, Stevenson, and Verne were some of the authors whose works he illustrated.
As a youth, his parents enrolled him in the Massachusetts Normal Arts School with further study at the Eric Pape School of Art. In 1901, N.C. was in Annisquam, Gloucester, Massachusetts, attending private classes instructed by George L. Noyes, a landscape artist.
N.C. Wyeth arrived in Wilmington on his twentieth birthday and met Howard Pyle for the first time. Some have said that Pyle’s greatest contribution to his students other than teaching and providing inspiration, were his many contacts with publishers and art directors. He quite often secured commissions and staff positions for his students.
Pyle exhorted his students to “jump into their paintings to know the place” they were depicting. To go and experience the environments, and Wyeth took him literally, and went out West and lived with the Utes and Navahos. For three months he punched cattle, herded, was a mail-carrier, and documented his experiences in meticulous drawings. When he returned his incredible artwork was sought after and published at an astonishing rate.
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As a youth, his parents enrolled him in the Massachusetts Normal Arts School with further study at the Eric Pape School of Art. In 1901, N.C. was in Annisquam, Gloucester, Massachusetts, attending private classes instructed by George L. Noyes, a landscape artist.
N.C. Wyeth arrived in Wilmington on his twentieth birthday and met Howard Pyle for the first time. Some have said that Pyle’s greatest contribution to his students other than teaching and providing inspiration, were his many contacts with publishers and art directors. He quite often secured commissions and staff positions for his students.
Pyle exhorted his students to “jump into their paintings to know the place” they were depicting. To go and experience the environments, and Wyeth took him literally, and went out West and lived with the Utes and Navahos. For three months he punched cattle, herded, was a mail-carrier, and documented his experiences in meticulous drawings. When he returned his incredible artwork was sought after and published at an astonishing rate.
N.C. Wyeth married in 1906, moved to Chadds Ford and continued to illustrate books and magazines, advertisements, and mural commissions, and that which he cherished most, the rural American scene. Wyeth also illustrated a number of books for Cosmopolitan Book Corporation, Houghton Mifflin Company, Little Brown and Company, David McKay Company, and Harper and Brothers. Notable among them were the Mysterious Stranger (1916), Robin Hood (1917), Robinson Crusoe (1920), Rip Van Winkle (1921) and The White Company (1922).
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Wyeth found it financially lucrative to accept commercial work in the form of advertisements, calendars and posters. The range and the quality of these advertisements vary from the elementary Lucky Strike and Coca-Cola series to the beautiful paintings of Beethoven, Wagner and Liszt for Steinway & Sons.
For years, Wyeth had looked upon illustration as a financial means of support for his family but wanted most of all to be recognized as a fine artist. In the 1930's, N.C. Wyeth was accepting fewer illustration and advertising commissions and devoted more time to easel painting of landscapes.
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By 1914, Wyeth loathed the commercialism upon which he became dependent, and for the rest of his life, he battled internally over his capitulation, accusing himself of having "bitched myself with the accursed success in skin-deep pictures and illustrations." He complained of money men "who want to buy me piecemeal" and that "an illustration must be made practical, not only in its dramatic statement, but it must be a thing that will adapt itself to the engravers' and printers' limitations. This fact alone kills that underlying inspiration to create thought. Instead of expressing that inner feeling, you express the outward thought… or imitation of that feeling." (An American Vision, p. 18)
An online catalogue raisonné from the Brandywine River Museum
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