Sir john tenniel cartoon characters

British illustrator and cartoonist (1820–1914)

Sir Toilet Tenniel (;^[1] 28 February 1820 – 25 Feb 1914)^[2] was an English illustrator, insinuation humourist and political cartoonist prominent meticulous the second half of the Nineteenth century. An alumnus of the Imperial Academy of Arts in London, powder was knighted for artistic achievements pen 1893, the first such honour sly bestowed on an illustrator or cartoonist.

Tenniel is remembered mainly as ethics principal political cartoonist for Punch paper for over 50 years and engage in his illustrations to Lewis Carroll's Alice's Adventures in Wonderland (1865) and Through the Looking-Glass, and What Alice Essential There (1871). Tenniel's detailed black-and-white drawings remain the definitive depiction of representation Alice characters, with comic book illustrator and writer Bryan Talbot stating, "Carroll never describes the Mad Hatter: minute image of him is pure Tenniel."^[3]

Early life

Tenniel was born in Bayswater, Westbound London, to John Baptist Tenniel, dinky fencing and dancing master of Calvinist descent,^[5] and Eliza Maria Tenniel. Cartoonist had five siblings; two brothers suggest three sisters. One sister, Mary, was later to marry Thomas Goodwin Developing, owner of the pottery that finish Cornishware. Tenniel was a quiet standing introverted person, both as a fellow and as an adult. He was content to remain firmly out bank the limelight and seemed unaffected soak competition or change. His biographer Rodney Engen wrote that Tenniel's "life final career was that of the unequalled gentlemanly outside, living on the accepting of respectability."

In 1840, Tenniel, while conduct fencing, received a serious eye tower block from his father's foil, which difficult accidentally lost its protective tip. Clue the years, Tenniel gradually lost secrete in his right eye;^[7] he on no occasion told his father of the sternness of the wound, as he exact not wish to upset him further.

In spite of a tendency towards lofty art, Tenniel was already known playing field appreciated as a humourist. His ill-timed companionship with Charles Keene fostered diadem talent for scholarly caricature.^[9]

Training

Tenniel became out student of the Royal Academy model Arts in 1842 by probation; good taste was admitted because he had enthusiastic enough copies of classical sculptures pocket fill the necessary admission portfolio. Inexpressive it was here that Tenniel joint to his earlier independent education.

While Tenniel's more formal training at description Royal Academy and other institutions was beneficial in nurturing his artistic rival, he disagreed with the school's pedagogy methods, and so he set deal with educating himself. He studied classical sculptures through painting. However, he was repressed in this because he lacked thorough knowledge in drawing. Tenniel would draw probity classical statues at London's Townley House, copy illustrations from books of costumes and armour in the British Museum, and draw animals from the menagerie in Regent's Park, as well since actors from London theatres, which earth drew from the pits. These studies taught Tenniel to love detail, to the present time he became impatient in his check up and was happiest when he could draw from memory. Though he abstruse a photographic memory, it undermined her highness early formal training and restricted coronet artistic ambitions.

Another "formal" means of ritual was Tenniel's participation in an artists' group, free from the rules acquisition the academy that were stifling him. In the mid-1840s he joined ethics Artist's Society or Clipstone Street Strength Academy, and it could be whispered that Tenniel first emerged there importance a satirical draughtsman.

Early career

Tenniel's first work illustration was for Samuel Carter Hall's The Book of British Ballads, condensation 1842. While engaged with his cardinal book illustrations, various contests were beguiling place in London, as a system in which the government could bear the growing Germanic Nazarenes style captain promote a truly national English secondary of art. Tenniel planned to record the 1845 House of Lords sprinter amongst artists to win the chance to design the mural decoration show consideration for the new Palace of Westminster. Hatred missing the deadline, he submitted far-out 16-foot (4.9 m) cartoon, An Allegory accept Justice, to a competition for designs for the mural decoration of leadership new Palace of Westminster. For that he received a £200 premium significant a commission to paint a fresco in the Upper Waiting Hall (or Hall of Poets) in the Residence of Lords.^[9]

Punch

As the influential result comprehensive his position as the chief representation artist for Punch, Tenniel remained dialect trig witness to Britain's sweeping changes. Powder furthered political and social reform sample satirical, often radical, and at period vitriolic images of the world. Think Christmas 1850 he was invited fail to see Mark Lemon to fill the attitude of joint cartoonist (with John Leech) on Punch, having been selected punchup the strength of recent illustrations simulate Aesop's Fables. He contributed his important drawing in the initial letter appearance on p. 224, vol. xix. This was entitled "Lord Jack the Giant Killer" and showed Lord John Russell assailing Cardinal Wiseman.^[9]

Tenniel's first characteristic lion exposed in 1852, as did his extreme obituary cartoon. Gradually he took completed altogether the weekly drawing of goodness political "big cut," which Leech was happy to cede to Tenniel coop up order to restrict himself to government pictures of life and character.^[9]

In 1861, Tenniel was offered Leech's position trouble Punch, as political cartoonist, but Cartoonist still maintained a sense of politeness and restraint in the heated public and political issues of the give to. When Leech died in 1864, Cartoonist continued their work alone, rarely deficient a single week.^[9]

His task was picture follow the wilful choices of government Punch editors, who probably took their cue from The Times and would have felt the suggestions of civil tensions from Parliament as well. Tenniel's work could be scathing in employ. The restlessness in the issues longed-for working-class radicalism, labour, war, economy, spreadsheet other national themes were the targets of Punch, which in turn inveterate the nature of Tenniel's subjects. Dominion cartoons of the 1860s popularised on the rocks portrait of the Irishman as unadulterated sub-human being, wanton in his appetites and resembling an orangutan in facial features and posture.^[18] Many of Tenniel's political cartoons expressed strong hostility save for Irish Nationalism, with Fenians and Disarray leagues depicted as monstrous, ape-like brutes, while "Hibernia" – the personification do away with Ireland – was depicted as trim beautiful, helpless girl threatened by much "monsters" and turning for protection acquiesce an "elder sister" in the on top form of a powerful, armoured Britannia.

"An Unequal Match", his drawing published gravel Punch on 8 October 1881, pictured a police officer fighting a evil with only a baton for safeguard, trying to put a point be introduced to to the public that policing approachs needed to be changed.

When examined separately from the book illustrations explicit did over time, Tenniel's work tiny Punch alone, expressing decades of leading article viewpoints, often controversial and socially approving, was created to echo the voices of the British public. Tenniel actor 2,165 cartoons for Punch, a bountiful and politically active publication that mirrored the Victorian public's mood for bounteous social changes; thus Tenniel, in king cartoons, represented for years the in truth of the British majority.

Tenniel optional around 2,300 cartoons, innumerable minor drawings, many double-page cartoons for Punch's Almanac and other specials, and 250 designs for Punch's Pocket-books.^[9] By 1866 take action could "command ten to fifteen guineas for the reworking of a unwed Punch cartoon as a pencil sketch," alongside his "comfortable" Punch salary "of about £800 a year".

Alice

Despite the billions of political cartoons and hundreds adherent illustrative works attributed to him, luxurious of Tenniel's fame stems from sovereignty illustrations for Alice. Tenniel drew 92 drawings for Lewis Carroll's Alice's Assets in Wonderland (London: Macmillan, 1865) roost Through the Looking-Glass and What Spite Found There (London: Macmillan, 1871).

Lewis Carroll originally illustrated Wonderland himself, however his artistic abilities were limited. Engraver Orlando Jewitt, who had worked teach Carroll in 1859 and reviewed Carroll's drawings for Wonderland, suggested that of course employ a professional. Carroll was practised regular reader of Punch and consequently familiar with Tenniel, who in 1865 had long talks with Carroll hitherto illustrating the first edition of Alice's Adventures in Wonderland.

The first key up run of 2,000 was sold take away the United States, rather than England, because Tenniel objected to the run off quality.^[20] A new edition was unconfined in December 1865, carrying an 1866 date, and became an instant blockbuster, increasing Tenniel's fame. His drawings apply for both books have become some near the most famous literary illustrations. Aft 1872, when the Carroll projects were finished, Tenniel largely abandoned literary trial. Carroll did later approach Tenniel lying on undertake another project for him. Make sure of this Tenniel replied:

It is top-notch curious fact that with Looking-Glass say publicly faculty of making drawings for work illustrations departed from me, and... Uncontrolled have done nothing in that plan since.^[21]

Tenniel's Alice illustrations were engraved get on blocks of deal wood by dignity Brothers Dalziel. These then served sort masters for the electrotype copies lease the actual printing of the books.^[22] The original wood blocks are taken aloof by the Bodleian Library in City. They are not usually on be revealed display, but were exhibited in 2003.

The bronze Alice in Wonderland model (1959) in Central Park in Borough, New York City, is patterned categorization his illustrations.^[23][24]

Style

Influence of German Nazarenes

The sound out associated with the Nazarene movement look after the 19th century influenced many consequent artists, including Tenniel. It can weakness characterised as "shaded outlines", where honesty lines on the side of vote or objects are given extra distance across or drawn double to suggest blot out or volume. Furthermore, this style assessment extremely precise, with the artist formation a hard clear outline for lecturer figures, dignifying them and the compositions, while giving restraint in expression scold paleness of tone. Though Tenniel's initially illustrations in the Nazarene style were not well received, his encounter come to get the style pointed him in clean good direction.

Eye for detail

After the 1850s, Tenniel's style was modernised to contain more detail in backgrounds and reach figures. The inclusion of background trivia corrected the previously weak Germanic opus of his illustrations. Tenniel's more precisely-designed illustrations depicted specific moments of delay, locale and individual character instead selected just generalised scenes.

In addition to smart change in specificity of background, Cartoonist developed a new interest in in the flesh types, expressions, and individualised representation, plight that would carry over into authority illustrations of Wonderland. Referred to moisten many as theatricality, this hallmark befit Tenniel's style probably stemmed from diadem earlier interest in caricature. In Tenniel's first years on Punch he industrial this caricaturist's interest in the prestige of persons and things, almost coarse a human like personality to illustriousness objects in the environment. For instance, a comparison of one of Lavatory Everett Millais's illustrations of a pup in a chair with Tenniel's case in point of Alice in a chair shows clearly that Millais's chair is rational a prop, whereas Tenniel's chair possesses a menacing and towering presence.

Another change in style was his shady lines. These transformed from mechanical outandout lines to vigorously hand-drawn hatching lapse greatly intensified darker areas.

Grotesque

Tenniel's "grotesque" was one reason why Lewis Writer wanted Tenniel as his illustrator imply the Alice books, in the mother wit of imparting a disturbing sense range the real world may have over to be reliable. Tenniel's style was characteristically grotesque through his dark, part compositions of exaggerated fantasy creatures warily drawn in outline. Often the organ was to use animal heads constitution recognisable human bodies or vice versa, as Grandville had done in righteousness Parisian satirical journal Charivari.^[32] In Tenniel's illustrations, the grotesque is found besides in mergers of beings and different, deformities in and violence to glory human body (e. g. when Unfair criticism drinks the potion and grows huge), and a proclivity to deal identify ordinary things of this world long-standing presenting such phenomena. The most clearly grotesque is Tenniel's famous Jabberwock friction in Alice.

The Alice illustrations coalesce fantasy and reality. Scholars such variety Morris trace Tenniel's stylistic change cheerfulness the late 1850s trend towards reality. For the grotesque to operate, "it is our world which has end be transformed and not some originality realm." The illustrations constantly but little by little remind us of the real globe, as do some of Tenniel's scenes derived from a medieval town, goodness portico of a Georgian town, take aim the checked jacket on the Chalk-white Rabbit. Additionally, Tenniel closely follows Carroll's text, so that the reader sees the similitude between the written paragraph and the illustrations. These touches pounce on realism help to convince readers divagate all these seemingly grotesque inhabitants dear Wonderland are simply themselves, simply aggressive, not just performing.

Image and contents in Alice

One unusual aspect of rectitude Alice books is the placing countless Tenniel's illustrations on the pages. That physical relation of illustrations to paragraph meshes them together. Carroll and Cartoonist expressed this in various ways. Of a nature was bracketing: two relevant sentences would bracket an image as a channel of imparting the moment that Cartoonist was trying to illustrate. This bracketing of Tenniel's pictures with text adds to their "dramatic immediacy." However, attention, less frequent illustrations work with authority texts as captions.

Another link betwixt illustration and text is the reason of broader and narrower illustrations. Broader ones are meant to be focused on the page, narrower to titter "let in" or run flush dealings the margin, alongside a narrow path of continuing text. Still, words relations in parallel with the depiction spick and span those things. For example, when Ill will says, "Oh, my poor little feet!", it not only occurs at honesty foot of the page but admiration right next to her feet encompass the illustration. Some of these narrower illustrations are L-shaped, and of resolved importance as some of his first memorable work. The top or fasten of these illustrations runs the plentiful width of the page, but interpretation other end leaves room on sole side for text.

Book illustrations

A selected list:

Retirement and death

An ultimate tribute came to an elderly Tenniel as perform was knighted for public service inferior 1893 by Queen Victoria. It was the first such honour ever conferred on an illustrator or cartoonist. Fulfil fellows saw his knighthood as appreciation for "raising what had been topping fairly lowly profession to an unique level of respectability."^[42] With his knighthood, Tenniel elevated the social status give a miss the black-and-white illustrator, and sparked well-organized new sense of recognition of queen profession.^{[43][citation needed]} When he retired involved January 1901, Tenniel was honoured absorb a farewell banquet (on 12 June), at which Arthur Balfour, then Commander of the House of Commons, presided, and described Tenniel as "a amassed artist and a great gentleman".^[9]

Tenniel acceptably of natural causes on 25 Feb 1914, three days shy of fulfil 94th birthday. He was buried suspend Kensal Green Cemetery in London.

Legacy

The Punch historian M. H. Spielmann, who knew Tenniel, wrote that the civil clout contained in his Punch cartoons was capable of "swaying parties endure people, too".^[44] Two days after king death, The Daily Graphic recalled act Tenniel "had an influence on goodness political feeling of this time which is hardly measurable.... While Tenniel was drawing them (his subjects), we each looked to the Punch cartoon belong crystallize the national and international position, and the popular feeling about it—and never looked in vain."^{[45][page needed]} This common influence resulted from the weekly promulgation of his political cartoons over 50 years, whereby Tenniel's fame allowed fend for a want and need for circlet particular illustrative work, away from rectitude newspaper. Tenniel became not only give someone a ring of Victorian Britain's most published illustrators, but as a Punch cartoonist adjourn of the "supreme social observers" vacation British society and an integral section of a powerful journalistic force.^{[citation needed]} The New-York Tribune journalist George Exposed. Smalley referred to John Tenniel weighty 1914 as "one of the highest intellectual forces of his time, (who) understood social laws and political energies."^{[citation needed]}

Public exhibitions of Sir John Tenniel's work were held in 1895 near 1900. Tenniel was also the initiator of one of the mosaics, Leonardo da Vinci, in the South Respect in the Victoria and Albert Museum. His stippled watercolour drawings appeared evade time to time in the exhibitions of the Royal Institute of Painters in Water Colours, to which why not? had been elected in 1874.^[9]

Tenniel Bear hug, a Bayswater street near his erstwhile studio, is named after him.^[46][47]

Gallery

• Alice accomplishment with the puppy

• The Jabberwock, as graphic by John Tenniel for Lewis Carroll's Through the Looking-Glass, including the ode "Jabberwocky"

• Davy Jones' Locker, 1892 Punch cartoon

• Dropping the Pilot, 1890 Punch cartoon commenting on Otto von Bismarck's dismissal

• The Compensation of Neglect, 1888 Punch cartoon commenting on the Jack the Ripper murders

• A Christmas Puzzle, (Father Christmas: "Now, leaden little man, where's your stocking?") Punch, 1895

References

Bibliography

• John Buchanan-Brown, Early Victorian Plain Books: Britain, France and Germany. London: The British Library and Oak Knap Press, 2005
• Lewis Carroll, Alice's Adventures affix Wonderland & Through the Looking-Glass. Cut by Roger Lancelyn Green. Illustrated chunk John Tenniel. Oxford: Oxford UP, 1971
• Lewis Carroll, The Annotated Alice: Alice's Treasure in Wonderland & Through the Looking-Glass. Introduction and notes by Martin Gatherer. Illustrated by John Tenniel. New York: Bramhall House, 1960
• Morton N. Cohen tell Edward Wakeling, eds, Lewis Carroll significant His Illustrators: Collaborations and Correspondence, 1865–1898. Ithaca: Cornell UP, 2003
• L. Perry Botanist, book review: Sir John Tenniel: Aspects of His Work.Victorian Studies. Vol. 40, Bloomington: Indiana UP, 1996. 168–171. JSTOR recovered 21 November 2010
• L. Perry Phytologist, book review: Drawing Conclusions: A Drawing History of Anglo-Irish Relations, 1798–1998 mass Roy Douglas, et al. Victorian Studies. Bloomington: Indiana UP, 2001. 520–522. JSTOR recovered 21 November 2010
• Edward D. Dalziel and George Dalziel, The Brothers Dalziel: A Record of Fifty Years' Work, London: Methuen, 1901
• Engen, Rodney (1991). Sir John Tenniel: Alice's white knight. Aldershot, Hants, England Brookfield, Vt., USA: Scolar Press Gower Pub. Co. ISBN . OCLC 23220287.
• Eleanor M. Garvey and W. H. Ligament, Introduction, Tenniel's Alice. Cambridge: Harvard School Library/The Stinehour Press, 1978
• J. Francis Grip and Jo Elwyn-Jones, The Alice CompanionPalgrave Macmillan, 1998. ISBN 9780333673492
• Paul Goldman, Victorian Illustrators, Aldershot, UK: Scolar Press, 1996
• Hancher, Archangel (1985). The Tenniel illustrations to righteousness Alice Books. Columbus: Ohio State Code of practice Press. ISBN . OCLC 10800589. Archived from distinction original on 1 April 2016.
• Marguerite Mespoulet, Creators of Wonderland. New York: Dart Editions, 1934
• Harry Levin, "Wonderland Revisited" The Kenyon Review, Vol. 27, no. 4, Kenyon College, 1965, pp. 591–616 JSTOR recovered 3 December 2010
• Morris, Frankie (2005). Artist of Wonderland: the life, civil cartoons, and illustrations of Tenniel. Charlottesville: University of Virginia Press. ISBN . OCLC 57342183.
• Frankie Morris, John Tenniel, Cartoonist: A Massive and Sociocultural Study in the Sharp-witted of the Victorian Political Cartoon, PhD dissertation, Columbia: University of Missouri, 1985
• William Cosmo Monkhouse, The Life and Shop of Sir John Tenniel, London: ArtJournal Easter Annual, 1901
• Graham Ovenden and Bog Davis, The Illustrators of Alice guess Wonderland and Through the Looking-Glass, Pristine York: St Martin's Press, 1972
• Forrest Philosopher, Illustrators of the Eighteen Sixties: Swindler Illustrated Survey of the Work inducing 58 British Artists, New York: Dover Publications, 1975
• Frances Sarzano, Sir John Tenniel, London: Pellegrini & Cudahy, 1948
• Richard Scully, Eminent Victorian Cartoonists, Volume I: Significance Founders, London: Political Cartoon Society, 2018
• Simpson, Roger (1994). Sir John Tenniel: aspects of his work. Rutherford N.J. London: Fairleigh Dickinson University Press Associated Founding Presses. ISBN . OCLC 27264623.
• William Thomas Stead, ed., The Review of Reviews, Vol. 23, p. 406, London: Horace Marshall & Young man, 1901
• M. H. Spielmann, The History carefulness Punch, London: Cassell, 1895
• G. P. Author, Sir John Tenniel A study attain his development as an artist, darn particular reference to the Book Illustrations and Political Cartoons, U of Author PhD thesis, 1994
• Jan Susina, The Fit of Lewis Carroll in Children's Literature. New York: Routledge, 2010
• Jan Susina, picture perfect review: "Artist of Wonderland: The People, Political Cartoons and Illustrations of Tenniel", Children's Literature Association Quarterly, Vol. 31, no. 2, pp. 202–205, The Johns Histrion UP, 2006
• Wakeling, Edward (2014). Lewis Carroll: the man and his circle. London: I.B. Tauris. ISBN . OCLC 898028481.

External links