Evaluating Illustration Aesthetically Points for consideration for those new to the field By Jaleen Grove Image promoting illustration, from The Russell Patterson Course: The Last Word in Humorous Illustration, circa 1924. In recent years art historians have of early modern commerce, so too can themselves kept the memory of their been questioning the twentieth the commercial art of the high modern- star artists alive by saving their friends’ ist period be seen as a fascinating record estates, instituting History of Illustration century taboo against acknowl- of changing lifestyles and values. classes in their own art classes when Art edging the aesthetic attributes of History departments refused to offer it, illustration. People who have developed their ap- and establishing their own archives and preciation of fine art over a long period, museums at places like the 100-year-old As the theorization of visual culture has perhaps beginning before visual culture Society of Illustrators in New York. These progressed, the reticence to appreciate was a trendy catchphrase, may not have insiders have created semi-private net- drawings and paintings made for maga- ever looked at illustration art with pro- works and built impressive collections zines, advertisements, books and ephem- fessional understanding or detachment. that have recently begun to tour major era is increasingly being seen as symp- First, illustration really is out to get you museums. The 2001 Norman Rockwell tomatic of a historical moment, now (that’s why it’s interesting) and so it’s nat- retrospective at the Guggenheim nec- passing. That moment can be character- ural that a thinking person should view essarily had to draw from many private ized as when “fine art” was staking out it with suspicion. Second, the tools of collections, since museums neglected il- new territory by defining itself as superi- connoisseurship in the mainstream art lustration for so long. or because it is supposedly “without use” world have developed few instruments (originating in Kant)—more concerned of interrogation appropriate to illustra- So how do the people who saved a hun- with philosophy than pragmatics. Be- tion, and so when asked to evaluate it, dred years of print culture history from cause illustration was openly made for a many experienced collectors make judg- the garbage dump evaluate excellence? utilitarian purpose (as most art was, over ments that miss the boat. the centuries) it was downgraded as a They certainly use much of the same foil—“not-art”—and as a result its en- There have, however, been a select few criteria that followers of gallery art do, joyable and historically relevant charac- art collectors and scholars who nev- because they too are educated broadly teristics have not been widely acknowl- er followed fashion, and who over the in art history. So were many illustrators. edged for their artistic value. years have developed these tools. Some The familiar standards of technical pro- came from backgrounds in printmaking ficiency, emotive feeling, historical rel- The twentieth century was perhaps or book arts. Others were business ex- evance, influence and innovation hold, unprecedented in its rapidity of social ecutives who understood that illustra- although the pantheon of leading figures, and technological changes, and illustra- tion can promote a good idea as easily media, “isms” and groundbreaking mo- tion was accused by many of hastening as a contemptible one. Many were just ments are different. There is a whole some of the more negative outcomes of fans who got hooked because illustration other vocabulary as well. that. But just as Baroque Dutch still life complemented their subculture or life painting is a document of the immense experience in the same manner that folk And, there are points to consider that wealth and moral quandaries in the wake art is practiced. Meanwhile, illustrators are special to illustration . 1 Illustration merits a different artists who “had to” do illustration to manner of evaluation because feed their painting habit have promoted of the following intrinsic this negative idea—they, however, are characteristics: the ones who never liked illustrating to begin with. The deserters’ perspective Communication made modern art look cosmetically as if First and foremost, illustration is about it never took patronage or fashion into communicating a concept. Consider the consideration. The contrast was actually ancient art of rhetoric—elements of lan- quite unfair to dedicated illustrators; any guage such as metonymy, synecdoche, illustrator can tell you that working with understatement, amplification and so on a demanding team requires more cre- all have corresponding visual strategies. ativity, not less. A close examination of Decide whether the tactic used is appro- many top illustrators’ careers will show priate to the message and executed with that they often took a creative lead in visual eloquence. their collusion with authors and design- ers with stylistic envelope-pushing and Text-image relationship communications problem-solving. Most, though not all, illustration was ac- companied by a caption, a title, a gag, a Howard Pyle set of instructions, labels, or a story. In what ways does the illustration make the text’s meaning clearer? More interesting, late, or put you at ease. The power of the in what ways does the illustration change in-the-gut Wham! is what makes people the text’s meaning? Has the illustrator bond with the image, and it is one mea- actually enhanced and creatively com- sure of the illustration’s success. Don’t mented upon the text, rather than simply be ashamed to fall in love with some- mirrored it? How is this different when thing corny, gory, kitschy, sexy, sentimen- the illustrator is also the author? tal, funny—the seductiveness, delicious creepiness, guilty pleasure, or what have Wham! factor you is what makes the work relevant and desirable. Visual communication is intended to make you feel something, and feel it Intertextual cultural references strongly, whether it be to make you laugh, shame you into action, horrify, titil- If you see a rabbit carrying a pocket- watch, would it not remind you of Alice in Sidney Sime Wonderland? Popular culture frequently Arthur Hughes delights in making in-jokes like this (think of The Simpsons). This puts a whole new Additionally, where the fine art market spin on the concept of originality. Some- demands consistency to build a brand- times, a copy is just a rip-off; other times, like signature style the artist is known it’s an homage. You get to decide which. for, in illustration this is optional. For ev- Often, illustrators spoofed famous works ery illustrator who became a specialist, of art, news items, or other illustrations, there are several who worked multiple or something quite arcane. When such visual personae, even under pseudonyms, winks can only be decoded by an initi- or who simply changed hats whenever ated subculture, the work becomes a the urge or necessity came. Although il- special document giving historical and lustrators have often campaigned to have cultural insight to that subculture. their creative power more utilized at the design stage, by comparison the illustra- Creative Latitude tion world has afforded more creative For decades fine art has decried that il- latitude—and pressure to keep on inno- lustration was “prostitution,” in part be- vating—due to it needing to constantly cause the illustrator supposedly always develop new markets and maintain cur- bent to the will of the client. Scores of rent ones without getting stale. 2 Multiples and Aura Old could be updated to usher in the new; sometimes illustration popularized Walter Benjamin argued art’s “aura” (its avant garde art, where otherwise that art worshipful aspect) was being killed by would have merely alienated people. mass reproduction—but there’s a case to be made that reproduction increases In modern art, newness was paramount. aura by making something ultra-known In illustration, innovation depends on and meaningful in multiple contexts the nature of the project and who the (think of cheap woodcuts of Christian audience is. Sometimes the message is saints bought by pilgrims, the iconic strengthened by adherence to tradition: portrait of Che Guevara, or the move- think of Christmas themes, for example. ment of the generic cowboy Western On the other hand, a radical take on into local popular cultures worldwide). Christmas might be perfect for a particu- Aura is one part Wham! factor, one part lar audience. It is important in illustration cherished symbol, many parts travel. No not to value an avant garde approach work of fine art gains iconic status with- simply because it is experimental—is it out reproduction either. also effective? Jessie Willcox Smith An equally important criterion is wheth- er the work is the epitome of its estab- had. Sometimes what is now considered lished genre: does the pin-up have the insulting actually began as a compliment; requisite long legs? Does the elongation other times it was outright hatred. Col- of the sports car in the ad glamorize it lections of politically incorrect material without misleading too much? Each sub- help ensure that history is not forgotten section of illustration has its own set of or denied, or doomed to repeat; depend- rules—it’s up to you to decide how well ing on the political climate, they can even the artwork exemplifies them or bends protect freedom of speech. Some collec- them. Both approaches are valid. tors reclaim questionable imagery in or- der to “own” and redefine it, as gays did Print media with the word “queer”. An understanding of the technical limita- tions, technical advantages, and distribu- tion of different types of printing tech- JC Leyendecker; Saturday Evening Post cover nology is essential to appreciating why a given illustration looks as it does.