One could have expected a completely different career from Edmund Joseph Sullivan. Although his father was himself an artist and director of the Hastings School of Arts, Edmund initially received an education in a Jesuit boarding school. His artistic education took place first at home and only later under his father. It would not have been surprising, therefore, if he had taken a different path in life or had followed his father's example as an artist. But it was to come differently.
Sullivan was more interested in the trends of the time, graphic design and book illustration. He lost his first job as an illustrator at the Daily Graphic two years later because his illustrations were too artistic! After a period as a freelancer, he found the right environment at Pall Mall Budget Magazine, where a new editor gathered dedicated artists at the pulse of the times around him. This circle of colleagues remained an important environment for Sullivan throughout his life, from which he recruited many of his commissions. This circle included his later wife Frances Louise Williams, Aubrey Beardsley, S. Hatrick and Joseph Pennell. Sullivan was soon a sought-after book illustrator.
Sullivan's artistic development can be traced through the milestones of his work. In general, his style can be characterized as a mixture of the English illustration style since 1860 and influences of Art Nouveau, with a tendency towards a romantic flair that is missing, for example, in the works of his colleague Beardsley. If one goes by his most important commissions, one can discern a preference for the obscure to the violent and the female body. For Thomas Carlyle, for example, he illustrated his "Sartor Resartus", H.G.'s "Stories of the Days to Come", set in 2090. Wells, for a selection of Tennyson's poems entitled "A Dream of Fair Women", for John Bunyan's "The Pilgrim's Progress" with its mixture of Christian themes and Nordic mythology, again for Carlyle his "French Revolution", for Fitzgerlad's translation of "Rubā'īyāt" by the Persian astronomer and poet Omar Chayyām and for "The Kaiser's Garland", a collection directed against the First World War and Kaiser Wilhelm II. Such themes gave room for originality and experimentation. Sullivan created expressive illustrations that testify to a strong imagination and a deep understanding of the text, full of symbolism and feeling.
Demand for such illustrations in black and white diminished after the war and Sullivan decided to pursue his career essentially as a teacher. From 1908 he taught lithography and illustration at Goldsmiths College School of Arts, and he became involved in arts and crafts at various institutes. He left theoretical treatises in "The Art of Illustration" in 1921 and "Line" in 1922, and Sullivan died in his London home on April 17, 1933.
One could have expected a completely different career from Edmund Joseph Sullivan. Although his father was himself an artist and director of the Hastings School of Arts, Edmund initially received an education in a Jesuit boarding school. His artistic education took place first at home and only later under his father. It would not have been surprising, therefore, if he had taken a different path in life or had followed his father's example as an artist. But it was to come differently.
Sullivan was more interested in the trends of the time, graphic design and book illustration. He lost his first job as an illustrator at the Daily Graphic two years later because his illustrations were too artistic! After a period as a freelancer, he found the right environment at Pall Mall Budget Magazine, where a new editor gathered dedicated artists at the pulse of the times around him. This circle of colleagues remained an important environment for Sullivan throughout his life, from which he recruited many of his commissions. This circle included his later wife Frances Louise Williams, Aubrey Beardsley, S. Hatrick and Joseph Pennell. Sullivan was soon a sought-after book illustrator.
Sullivan's artistic development can be traced through the milestones of his work. In general, his style can be characterized as a mixture of the English illustration style since 1860 and influences of Art Nouveau, with a tendency towards a romantic flair that is missing, for example, in the works of his colleague Beardsley. If one goes by his most important commissions, one can discern a preference for the obscure to the violent and the female body. For Thomas Carlyle, for example, he illustrated his "Sartor Resartus", H.G.'s "Stories of the Days to Come", set in 2090. Wells, for a selection of Tennyson's poems entitled "A Dream of Fair Women", for John Bunyan's "The Pilgrim's Progress" with its mixture of Christian themes and Nordic mythology, again for Carlyle his "French Revolution", for Fitzgerlad's translation of "Rubā'īyāt" by the Persian astronomer and poet Omar Chayyām and for "The Kaiser's Garland", a collection directed against the First World War and Kaiser Wilhelm II. Such themes gave room for originality and experimentation. Sullivan created expressive illustrations that testify to a strong imagination and a deep understanding of the text, full of symbolism and feeling.
Demand for such illustrations in black and white diminished after the war and Sullivan decided to pursue his career essentially as a teacher. From 1908 he taught lithography and illustration at Goldsmiths College School of Arts, and he became involved in arts and crafts at various institutes. He left theoretical treatises in "The Art of Illustration" in 1921 and "Line" in 1922, and Sullivan died in his London home on April 17, 1933.
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