Life, 1896-12-10 · page 6 of 20
Life — December 10, 1896 — page 6: what you’re looking at
What you’re looking at
# Analysis: "Bookishness—Family Pride or Art for Life's Sake" This page celebrates illustrators whose work appears in major publications. The text praises artists Gibson, Kemble, and Sullivan for their varied talents, noting that Life readers have grown so familiar with their work that they've become "adopted members of his family." The page showcases examples: a sketch from Harper's Magazine (left) depicting a fashionable woman, and "Rosemary" from Kemble's "Coons" (bottom)—a photograph showing a child in period costume. The tone is congratulatory toward these commercial illustrators who have achieved celebrity status through their prolific magazine contributions. The point emphasizes how popular illustration creates public intimacy and family-like recognition with artists.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
FAMILY PRIDE, OR ART FOR LIFE’S SAKE. RT books in the hands of the ‘literary editor" are apt to sufler, i like the famous wedding which was assigned to the horse reporter. That is why Messrs. Gibson, Kemble and Sullivant will have chills when they see this exposition of their varied talents. But the readers of Lire have for years seen so many of their pictures that they will discount any erroneous opinions here expressed. Every reader of Lire knows what he thinks about these artists, because he has viewed them with admiration and laughter for so long that are adopted members of his family. And when you can take each one of them into the family circle in a hand- some book of his own making, you can feel a certain pride in your relations. The publishers responsible for all three books are R. H, Russell & Son, and the work is well done. * * * \ HEN you get Mr. Gibson's recent pictures together you begin to feel certain that he has not been working at hap-hazard, but has patiently carried out well-planned schemes for artistic development.“ Pic- tures of People” shows that New York, Paris and C__ London are three progressive stages in his experience ; that each one has added immensely to his gallery of From SCRIBNER'S MAGAZINE.— By Permission. types, and, moreover, that he hastried always — You may not like the Parisian types as much as you did the a new method for grasping the new types. American, but you are bound to say that in Paris he learned a From MARPER'S MAGAZINE. ROSEMARY.—From “ KEMBLE'S COON: By Permission. Copyright by Robert Howard Russell,