{illustrators} – Page 185

The art of Virgil Finlay, 1914–1971

Mrs Amworth.

Another great artist of the macabre and supernatural, Virgil Finlay was the one of the most talented and imaginative illustrators of his generation. Unlike older contemporaries such as Joseph Leyendecker, who became wealthy producing elegant yet often bland advertising art, much of Finlay’s best work was for pulp magazines like Weird Tales and Amazing Stories which paid a pittance and printed his finely-hatched scratchboard drawings on the cheapest paper. The advantages to this work, such as they were, came in the access to a huge and appreciative audience, and the chance to provide the first illustrations for what would turn out to be classic genre stories. Finlay illustrated a number of HP Lovecraft’s tales and received the highest praise from the author in doing so. His illustration for Lovecraft’s The Thing on the Doorstep (below) contains a slight nod to Harry Clarke’s Valdemar picture (see previous post) with its distant, highlighted doorway, a detail that Clarke himself borrowed from the celebrated Las Meninas by Velázquez.

Therionweb has five galleries of Finlay’s pictures and Bud Plant again has a brief biography.

Abercrombie Station.

The Thing on the Doorstep.

Six and Ten.

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The art of Harry Clarke, 1889–1931

The Masque of the Red Death.

Halloween approaches so let’s consider the finest illustrator of Edgar Allan Poe’s stories, Irish artist Harry Clarke. Aubrey Beardsley once declared “I am grotesque or I am nothing” yet even his grotesquery—which could be considerable—struggled to do justice to Poe. Clarke, the best of the post-Beardsley illustrators, found a perfect match in the Boston writer’s Tales of Mystery and Imagination, his edition being published by Harrap in 1919. He could decorate fairy tales with the best of the great Edwardian book illustrators but a flair for the morbid blossomed when he found Poe. Only his later masterpiece, Goethe’s Faust, improved on the dark splendour of these drawings. “Never before have these marvellous tales been visually interpreted with such flesh-creeping, brain-tainting illusions of horror, terror and the unspeakable” wrote a critic in The Studio.

Lots more pictures at Grandma’s Graphics (although none of the colour plates, unfortunately) including many of the Faust drawings. Wikipedia has photos of some of Clarke’s incredible stained-glass windows, as does Bud Plant’s biography page.

Ligeia.

The Facts in the Case of M. Valdemar.

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War of the Worlds book covers

Continuing the cover art theme, here’s a whole gallery of covers devoted to one book only, HG Wells’ The War of the Worlds, from 1898 to the present. Once again it’s fascinating to see how styles evolve and how different artists and designers approach the task of providing art for the same book. The most common approach with this particular novel has evidently been to depict the tripod machines laying waste to the Home Counties. The samples here follow the pattern: the uncredited 1967 Penguin edition above was the one I read originally (I still have a copy); the other is a cover by Philippe Druillet from 1973 showing a particularly heavy-footed and tentacular Martian vehicle. The site also includes some great interior illustrations.

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JG Ballard book covers

In a similar vein to the Burroughs cover gallery, Rick McGrath’s site does the same for one of Burroughs’ followers, JG Ballard. The covers below are two typical examples using Surrealist art as their illustration, The Eye of Silence by Max Ernst and City of Drawers by Dalí. I’ve always loved the pairing of Ernst’s painting (my favourite by that artist) with The Crystal World, a design that Panther carried over to their 1968 paperback edition.

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William Burroughs book covers

This site has a great selection of Burroughs’ cover art. By no means complete but pages like this are always fascinating for showing the variety of visual interpretations that can be brought to a single title. Also nice to see how books looked in their earlier editions before they achieved status as “classic” works. And sometimes you see odd book title variations, so Queer in some foreign editions has become Pederast.

Too many great designs to choose from so I’ve picked out a couple of favourites by Thomi Wroblewski for Picador editions of the early Eighties. Cities of the Red Night remains my favourite Burroughs novel and I still toy with the idea of doing an illustrated edition one day.

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