Thomas Bewick

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Thomas Bewick (c. 11 August 1753 – 8 November 1828) was an English wood-engraver and natural history author. Early in his career he took on all kinds of work such as engraving cutlery, making the wood blocks for advertisements, and illustrating children's books. He gradually turned to illustrating, writing and publishing his own books, gaining an adult audience for the fine illustrations in A History of Quadrupeds.

His career began when he was apprenticed to engraver Ralph Beilby in Newcastle upon Tyne. He became a partner in the business and eventually took it over. Apprentices whom Bewick trained include John Anderson, Luke Clennell, and William Harvey, who in their turn became well known as painters and engravers.

Bewick is best known for his A History of British Birds, which is admired today mainly for its wood engravings, especially the small, sharply observed, and often humorous vignettes known as tail-pieces. The book was the forerunner of all modern field guides. He notably illustrated editions of Aesop's Fables throughout his life.

He is "usually considered the founder of wood-engraving" as "the first to realize its full potentialities", The result was high-quality illustration at a low price.

Life

thumb|left|230px|Cherryburn, Bewick's childhood home

Bewick [BYOO-ik] was born at Cherryburn, a house in the village of Mickley, Northumberland, near Newcastle upon Tyne on 10 or 11 August 1753, although his birthday was always celebrated on the 12th. His parents were tenant farmers: his father John had been married before his union with Jane, and was in his forties when Thomas, the eldest of eight, was born. John rented a small colliery at Mickley Bank, which employed perhaps six men.

Bewick did not flourish at schoolwork, but at a very early age showed a talent for drawing. In Beilby's workshop Bewick engraved a series of diagrams on wood for Charles Hutton, illustrating a treatise on measurement. He seems thereafter to have devoted himself entirely to engraving on wood, and in 1775 he received a prize from the Royal Society for the Encouragement of Arts, Manufactures and Commerce for a wood engraving of the "Huntsman and the Old Hound" from Select Fables by the late Mr Gay, which he was illustrating.

In 1776 Bewick became a partner in Beilby's workshop. The joint business prospered, becoming Newcastle's leading engraving service with an enviable reputation for high-quality work and good service. In September 1776 he went to London for eight months, finding the city rude, deceitful and cruel, and much disliking the unfairness of extreme wealth and poverty side by side. He returned to his beloved Newcastle as soon as he could, but his time in the capital gave him a wider reputation, business experience, and an awareness of new movements in art.

thumb|Tail-piece in [[A History of British Birds, said to be of Bewick himself as a thirsty traveller drinking from his hat]]

In 1786, when he was financially secure, he married Isabella Elliott from Ovingham; she had been a friend when they were children. They had four children, Robert, Jane, Isabella, and Elizabeth; the daughters worked on their father's memoir after his death.

Bewick was also noted as having a strong moral sense and was an early campaigner for fair treatment of animals. He objected to the docking of horses' tails, the mistreatment of performing animals such as bears, and cruelty to dogs. Above all, he thought war utterly pointless. All these themes recur in his engravings, which echo Hogarth's attention to moral themes. For example, he shows wounded soldiers with wooden legs, back from the wars, and animals with a gallows in the background.

Bewick had at least 30 pupils who worked for him and Beilby as apprentices, the first of which was his younger brother John. Several gained distinction as engravers, including John Anderson, Luke Clennell, Charlton Nesbit, William Harvey, Robert Johnson, and his son and later partner Robert Elliot Bewick.

The partners published their History of Quadrupeds in 1790, intended for children but reaching an adult readership, and its success encouraged them to consider a more serious work of natural history. In preparation for this Bewick spent several years engraving the wood blocks for Land Birds, the first volume of A History of British Birds. Given his detailed knowledge of the birds of Northumberland, Bewick prepared the illustrations, so Beilby was given the task of assembling the text, which he struggled to do. Bewick ended up writing most of the text,

thumb|upright|Thomas Bewick in 1827, by [[Thomas Sword Good ]]

The book was an immediate success when published—by Beilby and Bewick themselves—in 1797. and in 1795 an anthological character study of the Kings and Queens of England. Given the success of the 1797 publication of his bird illustrations, Bewick started work at once on the second volume, Water Birds, but the disagreement over authorship led to a final split with Beilby. Bewick was unable to control his feelings and resolve issues quietly, so the partnership ended, turbulently and expensively, leaving Bewick with his own workshop. Bewick had to pay £20, equivalent to about £20,000 in 2011, in lawyer's fees, and more than £21 for Beilby's share of the workshop equipment.

With the assistance of his apprentices Bewick brought out the second volume, Water Birds, in 1804, as the sole author. He found the task of managing the printers continually troublesome, but the book met with as much success as the first volume.

Bewick was fond of the music of Northumberland, and of the Northumbrian smallpipes in particular. He especially wanted to promote the Northumbrian smallpipes, and to support the piper John Peacock, so he encouraged Peacock to teach pupils to become masters of this kind of music. One of these pupils was Thomas's son, Robert, whose surviving manuscript tunebooks give a picture of a piper's repertoire in the 1820s.

thumb|upright|Waiting for Death, Bewick's last wood engraving from 1828, published 1832

Bewick's last wood engraving, Waiting for Death, was of an old bony workhorse, standing forlorn by a tree stump, which he had seen and sketched as an apprentice; the work echoes William Hogarth's last work, The Bathos, which shows the fallen artist by a broken column. He died after a few days' illness on 8 November 1828, at his home. He was buried in Ovingham churchyard, beside his wife Isabella, who had died two years earlier, and not far from his parents and his brother John.

Work

Technique

Bewick's art is considered the pinnacle of his medium, now called wood engraving. This is due both to his skill and to the method, which unlike the woodcut technique of his predecessors, carves against the grain, in hard box wood, using fine tools normally favoured by metal engravers.

thumb|left|One of Bewick's wood blocks

Boxwood cut across the end-grain is hard enough for fine engraving, allowing greater detail than in normal woodcuts; this has largely replaced the basic woodcut since Bewick's time. In addition, since wood engraving is a relief printing technique, inked on the face, it requires only low pressure to print an image, so the blocks last for many thousands of prints, and importantly can be assembled into the same forme as the letterpress or metal type for the text, allowing both on the same page, and all the printing to be done in a single run. In contrast, copper plate engravings are an intaglio printing technique, inked in the engraved grooves, the face being wiped clean of ink before printing, so a special type of printing press applying much higher pressure is required, and images must be printed separately from the text, at far greater expense.

Bewick made use of his close observation of nature, his remarkable visual memory, and his sharp eyesight to create accurate and extremely small details in his wood engravings, which proved to be both a strength and a weakness. If properly printed and closely examined, his prints could be seen to convey subtle clues to the character of his natural subjects, with humour and feeling.

This was achieved by carefully varying the depth of the engraved grooves to provide actual greys, not only black and white, as well as the pattern of the marks to provide texture. But this subtlety of engraving created a serious technical difficulty for his printers; they needed to ink his blocks with just the right amount of ink, mixed so as to be of exactly the right thickness, and to press the block to the paper slowly and carefully, to obtain a result that would satisfy Bewick. This made printing slow and expensive. It also created a problem for Bewick's readers; if they lacked his excellent eyesight, they needed a magnifying glass to study his prints, especially the miniature tail-pieces. But the effect was transformative, and wood engraving became the main method of illustrating books for a century.

Bewick ran his workshop collaboratively, developing the skills of his apprentices, so while he did not complete every task for every illustration himself, he was always closely involved, as John Rayner explains: