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''Artist and the Author'' is a pamphlet written by George Cruikshank in 1872. During the late 1860s, Cruikshank claimed to be the author of works attributed to other writers, including Charles Dickens and William Harrison Ainsworth. After John Forster contradicted Cruikshank's claims to having "originated" ''Oliver Twist'', Cruikshank began a dispute in ''The Times'' as being the creator of novels attributed to Ainsworth. After the newspaper stopped carrying the dispute, Cruikshank produced all of his claims in ''Artist and the Author'', where he disputed his relationship to 8 of Ainsworth's novels. ==Background== Cruikshank's claims surrounding the works of Dickens and Ainsworth stem from his early involvement with Ainsworth as illustrator for various works by Ainsworth that were published in ''The Bentley's Miscellany'' and the ''Ainsworth's Magazine''. Although Tony Johannot was first used to illustrate Ainsworth's first work in the ''Ainsworth's Magazine'', ''Windsor Castle'', Cruikshank became the dominant illustrator and replaced him in the role for the majority of the novel. Once Cruikshank joined with Ainsworth, Cruikshank moved his efforts from his own magazine, ''The Omnibus'', to the ''Ainsworth's Magazine'' and focused completely on the magazine.〔Ellis 1979 Vol. 1 p. 431〕 The two worked closely together on many projects while Cruikshank would provide illustrations for other authors, including Dickens, for whom Cruikshank illustrated two works, ''Sketches by Boz'' and ''Oliver Twist''. It was Ainsworth who introduced Cruikshank to Dickens,〔Worth 1972 p. 19〕 and Cruikshank began providing illustrations for both ''Oliver Twist'' and Ainsworth's ''Jack Sheppard'', which ran in serial during the same time in 1839.〔Worth 1972 p. 37〕 Immediately following the serial publications of ''Oliver Twist'' and ''Jack Sheppard'', there were unlicensed theatre productions of the works. Of these, Ainsworth and Cruikshank, with Cruikshank going so far as to advise one of the set designers, was in favour of while Dickens was not. In an 8 October 1839 letter to G. B. Davidge in praise of one of the productions, Ainsworth wrote, "The fact of the whole of the Scenery having been superintended by Mr. George Cruikshank, must be a sufficient guarantee to the Public for its excellence and accuracy."〔Carver 2003 p. 177〕 The relationship between Ainsworth and Cruikshank continued until ''Saint James's'', the final novel that the two worked together on. It is possible that it resulted from Ainsworth selling his magazine or that Ainsworth drifted from Cruikshank after not needing an illustrator for some time.〔Ellis 1979 Vol. 2 p. 79〕 Of the relationship between author and illustrator, the ''Athenaeum'' printed a review which claimed that it was "doubtful whether the plates were etched for the book, or the book written to illustrate the plates" but stated such with a negative purpose.〔Carver 2003 qtd. p. 185〕 This was followed by those like William Makepeace Thackeray that complimented the power of Cruikshank's illustrations on the story: "With regard to the modern romance of 'Jack Sheppard' () it seems to us that Mr. Cruikshank really created the tale, and that Mr. Ainsworth, as it were, only put words to it."〔Thackeray 1840〕 Decades later, Cruikshank began publishing claims that he was the one responsible for many of Ainsworth's novels,〔Ellis 1979 Vol. 2 p. 80〕 and it is possible that the reviews about the power of his illustrations encouraged him towards this belief.〔Elliz 1979 Vol. 2 p. 108〕 However, years before he claimed to be the "originator" of Dickens's ''Oliver Twist'' and this account was recorded by Shelton Mackenzi in an article published in the United States. This article was refuted by Forster in his ''Life of Charles Dickens'' (1871).〔Ellis 1979 Vol. 2 p. 83〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Artist and the Author」の詳細全文を読む スポンサード リンク
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