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Pyle - Howard Pyles Book of Pirates

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Pyle Howard Pyles Book of Pirates
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Howard Pyle (March 5, 1853 - November 9, 1911) was an American illustrator and author, primarily of books for young people. A native of Wilmington, Delaware, he spent the last year of his life in Florence, Italy.
In 1894 he began teaching illustration at the Drexel Institute of Art, Science and Industry (now Drexel University). After 1900, he founded his own school of art and illustration, named the Howard Pyle School of Illustration Art. The scholar Henry C. Pitz later used the term Brandywine School for the illustration artists and Wyeth family artists of the Brandywine region, several of whom had studied with Pyle. Some of his more notable students were N. C. Wyeth, Frank Schoonover, Elenore Abbott, Ethel Franklin Betts, Anna Whelan Betts, Harvey Dunn, Clyde O. DeLand, Philip R. Goodwin, Thornton Oakley, Violet Oakley, Ellen Bernard Thompson Pyle, Olive Rush, Allen Tupper True, Elizabeth Shippen Green, Arthur E. Becher, William James Aylward, and Jessie Willcox Smith. Pyles home and studio in Wilmington, where he taught his students, is still standing and is listed on the National Register of Historic Places.
His 1883 classic publication The Merry Adventures of Robin Hood remains in print, and his other books, frequently with medieval European settings, include a four-volume set on King Arthur. He is also well known for his illustrations of pirates, and is credited with creating what has become the modern stereotype of pirate dress. He published his first novel, Otto of the Silver Hand, in 1888. He also illustrated historical and adventure stories for periodicals such as Harpers Weekly and St. Nicholas Magazine. His novel Men of Iron was adapted as the movie The Black Shield of Falworth (1954).
Pyle travelled to Florence, Italy in 1910 to study mural painting. He died there in 1911 of a sudden kidney infection (Brights Disease).
Pyle was widely respected during his life and continues to be well regarded by illustrators and fine artists. Vincent van Gogh, a contemporary, wrote in a letter to his brother Theo that Pyles work ... struck me dumb with admiration.
Pyles reputation stems from his innovation in form and illustration, creating an American school of illustration and art, and for the revival of childrens books. Twentieth-Century Literary Criticism notes:
As time passed, Pyles historical position as the founder of a distinctly American school of illustration and art, as the innovator who introduced the total-design approach, and as the great reinventor of childrens books, would outshine any single work he did, so that he is remembered less for any one project than for his total stance.
He had a lasting influence on a number of artists who became notable in their own right: N. C. Wyeth, Frank Schoonover, Stanley Arthur, and numerous others studied under him. According to Robert Vitz, the Howard Pyle School of Art developed a common set of themes in its work: attention to realism, and expression of optimism and a faith in the goodness of America.[4] His work also continued to inspire well after his death; for example, comic book artist Tony Harris (born 1969) has cited Pyle as a major influence on his work.


Library : General
Formats : EPUB
ISBN : 9781505370317

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Howard Pyle's Book of Pirates
***
Howard Pyle

Fiction, Fact & Fancy concerning the Buccaneers & Marooners of the Spanish Main: From the writing & Pictures of Howard Pyle:

Compiled by Merle Johnson

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Foreword

PIRATES, Buccaneers, Marooners, those cruel but picturesque sea wolves who once infested the Spanish Main, all live in presentday conceptions in great degree as drawn by the pen and pencil of Howard Pyle.

Pyle, artistauthor, living in the latter half of the nineteenth century and the first decade of the twentieth, had the fine faculty of transposing himself into any chosen period of history and making its people flesh and blood againnot just historical puppets. His characters were sketched with both words and picture; with both words and picture he ranks as a master, with a rich personality which makes his work individual and attractive in either medium.

He was one of the founders of presentday American illustration, and his pupils and grandpupils pervade that field today. While he bore no such important part in the world of letters, his stories are modern in treatment, and yet widely read. His range included historical treatises concerning his favorite Pirates (Quaker though he was); fiction, with the same Pirates as principals; Americanized version of Old World fairy tales; boy stories of the Middle Ages, still best sellers to growing lads; stories of the occult, such as In Tenebras and To the Soil of the Earth, which, if newly published, would be hailed as contributions to our latest cult.

In all these fields Pyle's work may be equaled, surpassed, save in one. It is improbable that anyone else will ever bring his combination of interest and talent to the depiction of these oldtime Pirates, any more than there could be a second Remington to paint the now extinct Indians and gunfighters of the Great West.

Important and interesting to the student of history, the adventurelover, and the artist, as they are, these Pirate stories and pictures have been scattered through many magazines and books. Here, in this volume, they are gathered together for the first time, perhaps not just as Mr. Pyle would have done, but with a completeness and appreciation of the real value of the material which the author's modesty might not have permitted. MERLE JOHNSON.

Preface

WHY is it that a little spice of deviltry lends not an unpleasantly titillating twang to the great mass of respectable flour that goes to make up the pudding of our modern civilization? And pertinent to this question anotherWhy is it that the pirate has, and always has had, a certain lurid glamour of the heroical enveloping him round about? Is there, deep under the accumulated debris of culture, a hidden groundwork of the oldtime savage? Is there even in these wellregulated times an unsubdued nature in the respectable mental household of every one of us that still kicks against the pricks of law and order? To make my meaning more clear, would not every boy, for instancethat is, every boy of any accountrather be a pirate captain than a Member of Parliament? And we ourselveswould we not rather read such a story as that of Captain Avery's capture of the East Indian treasure ship, with its beautiful princess and load of jewels (which gems he sold by the handful, history sayeth, to a Bristol merchant), than, say, one of Bishop Atterbury's sermons, or the goodly Master Robert Boyle's religious romance of "Theodora and Didymus"? It is to be apprehended that to the unregenerate nature of most of us there can be but one answer to such a query.

In the pleasurable warmth the heart feels in answer to tales of derringdo Nelson's battles are all mightily interesting, but, even in spite of their romance of splendid courage, I fancy that the majority of us would rather turn back over the leaves of history to read how Drake captured the Spanish treasure ship in the South Sea, and of how he divided such a quantity of booty in the Island of Plate (so named because of the tremendous dividend there declared) that it had to be measured in quart bowls, being too considerable to be counted.

Courage and daring, no matter how mad and ungodly, have always a redundancy of vim and life to recommend them to the nether man that lies within us, and no doubt his desperate courage, his battle against the tremendous odds of all the civilized world of law and order, have had much to do in making a popular hero of our friend of the black flag. But it is not altogether courage and daring that endear him to our hearts. There is another and perhaps a greater kinship in that lust for wealth that makes one's fancy revel more pleasantly in the story of the division of treasure in the pirate's island retreat, the hiding of his godless gains somewhere in the sandy stretch of tropic beach, there to remain hidden until the time should come to rake the doubloons up again and to spend them like a lord in polite society, than in the most thrilling tales of his wonderful escapes from commissioned cruisers through tortuous channels between the coral reefs.

And what a life of adventure is his, to be sure! A life of constant alertness, constant danger, constant escape! An ocean Ishmaelite, he wanders forever aimlessly, homelessly; now unheard of for months, now careening his boat on some lonely uninhabited shore, now appearing suddenly to swoop down on some merchant vessel with rattle of musketry, shouting, yells, and a hell of unbridled passions let loose to rend and tear. What a Carlislean hero! What a setting of blood and lust and flame and rapine for such a hero!

Piracy, such as was practiced in the flower of its daysthat is, during the early eighteenth centurywas no sudden growth. It was an evolution, from the semilawful buccaneering of the sixteenth century, just as buccaneering was upon its part, in a certain sense, an evolution from the unorganized, unauthorized warfare of the Tudor period.

For there was a deal of piratical smack in the antiSpanish ventures of Elizabethan days. Many of the adventurersof the Sir Francis Drake school, for instanceactually overstepped again and again the bounds of international law, entering into the realms of de facto piracy. Nevertheless, while their doings were not recognized officially by the government, the perpetrators were neither punished nor reprimanded for their excursions against Spanish commerce at home or in the West Indies; rather were they commended, and it was considered not altogether a discreditable thing for men to get rich upon the spoils taken from Spanish galleons in times of nominal peace. Many of the most reputable citizens and merchants of London, when they felt that the queen failed in her duty of pushing the fight against the great Catholic Power, fitted out fleets upon their own account and sent them to levy good Protestant war of a private nature upon the Pope's anointed.

Some of the treasures captured in such ventures were immense, stupendous, unbelievable. For an example, one can hardly credit the truth of the "purchase" gained by Drake in the famous capture of the plate ship in the South Sea.

One of the old buccaneer writers of a century later says: "The Spaniards affirm to this day that he took at that time twelvescore tons of plate and sixteen bowls of coined money a man (his number being then fortyfive men in all), insomuch that they were forced to heave much of it overboard, because his ship could not carry it all."

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