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Thomas Bewick (c. 11 August 1753 – 8 November 1828) was an English 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. Gradually he 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 credited with popularising a technical innovation in the printing of illustrations using wood. He adopted metal-engraving tools to cut hard boxwood across the grain, producing printing blocks that could be integrated with metal type, but were much more durable than traditional woodcuts. The result was high quality illustration at a low price. ==Life== Bewick was born at Cherryburn,〔(【引用サイトリンク】 title=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.〔Uglow, 2006. p. 7.〕 His parents were tenant farmers:〔Uglow, 2006. pp. 6, 9.〕 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 attended school in the nearby village of Ovingham.〔Uglow, 2006. pp. 10–11.〕 Bewick did not flourish at schoolwork,〔Uglow, 2006. pp. 12–13.〕 but at a very early age showed a talent for drawing.〔 He had no lessons in art. At the age of 14 he was apprenticed to Ralph Beilby, an engraver in Newcastle, where he learnt how to engrave on wood and metal, for example marking jewellery and cutlery with family names and coats of arms.〔〔Uglow, 2006. pp. 39–44.〕 In Beilby's workshop Bewick engraved a series of diagrams on wood for Charles Hutton, illustrating a treatise on measurement.〔Uglow, 2006. pp. 47–48.〕 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.〔〔Uglow, 2006. p. 92.〕 In 1776 Bewick became a partner in Beilby's workshop. The joint business prospered,〔Uglow, 2006. pp. 106–107.〕 becoming Newcastle's leading engraving service with an enviable reputation for high quality work and good service.〔Dixon, 2010. p. 265.〕 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.〔Dixon, 2010. pp. 263–264.〕 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.〔 At that period in his life he was described by the Newcastle artist Thomas Sword Good as "a man of athletic make, nearly 6 feet high and proportionally stout. He possessed great personal courage and in his younger years was not slow to repay an insult with personal chastisement. On one occasion, being assaulted by two pitmen on returning from a visit to Cherryburn, he resolutely turned upon the aggressors, and as he said, 'paid them both well'."〔Quoted in ''Notes by Mr. A.G. Stephens on Thomas Bewick illustrating a loan collection of his Drawings and Woodcuts'' (Fine Art Society’s Galleries, London 1880)〕 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.〔Dixon, 2010. p. 273.〕 Bewick had at least 30 pupils who worked for him and Beilby as apprentices, the first of which was his younger brother John.〔Dixon, 2010. p. 264.〕 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.〔Uglow, 2006. pp. 407–408.〕 In 1790 the partners published their ''History of Quadrupeds'' in 1790,〔(【引用サイトリンク】 title=Major Publications )〕 intended for children but reaching an adult readership, and its success encouraged them to consider a more serious work of natural history.〔〔Uglow, 2006. pp. 153–186.〕 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,〔 which led to a dispute over authorship; Bewick refused to have Beilby named as the author, and in the end only Bewick's name appeared on the title page, along with a paragraph of explanation at the end of the preface.〔Uglow, 2006. pp. 242–261.〕 The book was an immediate success when published – by Beilby and Bewick themselves – in 1797.〔 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 £20,400 as of 2011,〔 〕 in lawyer's fees, and more than £21 for Beilby's share of the workshop equipment.〔Uglow, 2006. pp. 262–279, 293–305.〕 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.〔 In April 1827, the American naturalist and bird painter John James Audubon came to Britain to find a suitable printer for his enormous ''Birds of America''. Bewick, still lively at age 74, showed him the woodcut he was working on, a dog afraid of tree stumps that seem in the dark to be devilish figures, and gave Audubon a copy of his ''Quadrupeds'' for his children.〔Uglow, 2006. pp. 388–389.〕 Bewick was fond of the music of Northumberland, and of the Northumbrian smallpipes in particular.〔Uglow, 2006. pp. 121–122.〕 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.〔Uglow, 2006. pp. 283–284, 398–399.〕 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;〔(Bewick Society )〕 the work echoes William Hogarth's last work, ''The Bathos'', which shows the fallen artist by a broken column.〔Uglow, 2006. pp. 393–394.〕 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,〔Isabella Bewick died on 1 February 1826. Uglow, 2006, pp. 384–385.〕 and not far from his parents and his brother John.〔Uglow, 2006. pp. 394–395.〕 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「Thomas Bewick」の詳細全文を読む スポンサード リンク
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