Hardy and His Illustrators

Maureen Cleary Class of 1997
Gettysburg College

Thomas Hardy's writing is well-known for its detailed descriptions and picturesque scenes. Therefore, it is no surprise that his works lent themselves easily to the art of illustration. As was the practice of many authors, Hardy discovered that by accom panying his text with visual illustrations, he could more fully convey meaning to the reader. However, Hardy was unlike many other authors in that he took an active interest in the illustrations, often communicating with the artists on a one-to-one basis . Through such correspondence with his various illustrators, Hardy could make suggestions, and he sometimes even sent some of his own sketches in order to clarify his ideas. By exercising this control over the illustration of his novels, Hardy was essen tially able to control how readers would interpret his works.
Hardy's first novel that received illustration was A Pair of Blue Eyes, and it was published serially in Tinsley's Magazine. Hardy sent sketches to the illustrator, J. A. Pasquier, as Hardy was particularly concerned with the visual depiction of Elfride, since she was based so closely on Hardy's wife, Emma. Many critics recognize a strong resemblance between the two women, most likely a result of the collaboration of author and illustrator.

With Far From the Madding Crowd, Hardy was concerned that the pastoral details of the novel would be well-depicted in the illustrations. He did not meet with the illustrator until after the first few months' installments had been published, and upon meeting, was surprised that the illustrator was a woman, Helen Paterson (later, Mrs. Helen Allingham). Many have since questioned whether Hardy's admiration of Helen Paterson was strictly professional, but nonetheless, he was pleased with her illustrations to such an extent that he asked if she would work on another project, A Laodicean. However, she refused, since she no longer worked as a magazine illustrator, thereby ending Hardy's only working relationship with a female illustrator.

Hardy's close relationship with his illustrators was not continued with The Hand of Ethelberta, illustrated by George DuMaurier, for reasons unknown. Interestingly, both the novel and its illustrations met with rather harsh criticism. However, Hardy made up for any losses with The Return of the Native, illustrated by Arthur Hopkins. The two men corresponded frequently, as Hardy was dissatisfied with Hopkins' first portrayal of Eustacia. Hardy and Hopkins corresponded back and forth until both men were satisfied with the ultimate result, and it is important to note that Hardy was willing to compromise on a few issues. Although Hardy intended that his suggestions be incorporated, he was willing to leave the final decision to his illustrator.

Ultimately, ten of Hardy's novels received illustration. Even though some of his relationships with his illustrators were closer than others, Hardy generally displayed a great interest in the visual depiction of his works. Hardy obviously realized that the way one visualizes a work reflects enormously on the way one interprets the text, and by concerning himself with both aspects of his works, Hardy proved himself to be not only a writer, but also an artist.

Bibliography

Halliday, F. E. Thomas Hardy: His Life and Work. New York: Harper & Row, 1972.

Jackson, Arlene M. Illustration and the Novels of Thomas Hardy. Totowa: Rowman and Littlefield, 1981.

Pinion, F. B. Thomas Hardy: His Life and Friends. New York: St. Martin's Press, 1992.

Seymour-Smith, Martin. Hardy. New York: St. Martin's Press, 1994.