|
See also:KEENE, See also:CHARLES See also:SAMUEL (1823–1891) , See also:English See also:black-andwhite artist, the son of Samuel See also:- BROWNE
- BROWNE, EDWARD HAROLD (18,1–1891)
- BROWNE, ISAAC HAWKINS (1705-1760)
- BROWNE, JAMES (1793–1841)
- BROWNE, MAXIMILIAN ULYSSES, COUNT VON, BARON DE CAMUS AND MOUNTANY (1705-1757)
- BROWNE, PETER (?1665-1735)
- BROWNE, ROBERT (1550-1633)
- BROWNE, SIR JAMES (1839–1896)
- BROWNE, SIR THOMAS (1605-1682)
- BROWNE, WILLIAM (1591–1643)
- BROWNE, WILLIAM GEORGE (1768-1813)
Browne Keene, a See also:solicitor, was See also:born at See also:Hornsey on the loth of See also:August 1823. Educated at the See also:Ipswich See also:Grammar School until his sixteenth See also:year, he See also:early showed See also:artistic leanings. Two years after the See also:death of his See also:father he was articled to a See also:London solicitor, but, the occupation proving uncongenial, he was removed to the See also:- OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")
office of an architect, Mr Pilkington. His spare See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time was now spent in See also:drawing See also:historical and nautical subjects in See also:water-See also:colour. For these trifles his See also:mother, to whose See also:energy and See also:common sense he was greatly indebted, soon found a purchaser, through whom he was brought to the See also:notice of the Whympers, the See also:wood-engravers. This led to his being See also:bound to them as apprentice for five years. His earliest known
See also:design is the See also:frontispiece, signed " Chas. Keene," to The Adventures of See also:Dick Boldhero in See also:Search of his See also:Uncle, &c. (Darton & Co., 1842). His See also:term of See also:apprenticeship over, he hired as studio an See also:attic in the See also:block of buildings See also:standing, up to 1900, between the Strand and See also:Holywell See also:Street, and was soon hard at See also:work for the Illustrated London See also:News. At this time he was a member of the " Artists' Society "in Clipstone Street, afterwards removed to the See also:Langham studios. In See also:December 1851 he made his first See also:appearance in See also:Punch and, after nine years of steady work, was called to a seat at the famous table. It was during this See also:period of See also:probation that he first gave See also:evidence of those transcendent qualities which make his work at once the joy and despair of his See also:brother craftsmen. On the starting of Once a See also:Week, in 1859, Keene's services were requisitioned, his most notable See also:series in this periodical being the illustrations to Charles See also:Reade's A See also:Good Fight (afterwards rechristened The See also:Cloister and the See also:Hearth) and to See also:George See also:Meredith's Evan See also:Harrington. There is a quality of conventionality in ,the earlier of these which completely disappears in the later. In 1858 Keene, who was endowed with a See also:fine See also:voice and was an enthusiastic admirer of old-fashioned See also:music, joined the " Jermyn See also:Band," afterwards better known as the " See also:Moray Minstrels." He was also for many years a member of See also:Leslie's See also:Choir, the Sacred See also:Harmonic Society, the Catch, See also:Glee and See also:Canon See also:Club, and the See also:Bach Choir. He was also an industrious performer on the bagpipes, of which See also:instrument he brought together a considerable collection of specimens. About 1863 the Arts Club in See also:Hanover Square was started, with Keene as one of the See also:original members. In 1864 See also:John See also:Leech died, and Keene's work in Punch thenceforward found wider opportunities. It was about this time that the greatest of all See also:modern artists of his class,See also:Menzel,discovered Keene's existence, and became a subscriber to Punch solely for the See also:sake of enjoying week by week the work of his brother crafts-See also:man. In 1872 Keene; who, though fully possessed of the humorous sense, was not within measurable distance of Leech as a See also:jester, and whose drawings were consequently not sufficiently " funny " to See also:appeal to the See also:laughter-loving public, was fortunate enough to make the acquaintance of Mr See also:Joseph Crawhall, who had been in the See also:habit for many years of jotting down any humorous incidents he might hear of or observe, illustrating them at leisure for his own amusement. These were placed unreservedly at Keene's disposal, and to their See also:inspiration we owe at least 250 of his most successful drawings in the last twenty years of his connexion with Punch. A See also:list of more than 200 of these subjects is given at the end of The See also:Life and Letters of Charles Keene of " Punch." In 1879 Keene removed to 239 See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
King's Road, See also:Chelsea, which he occupied until his last illness, walking daily to and from his See also:house, 112 See also:Hammersmith Road. In 1881 a See also:volume of his Punch drawings was published by Messrs Bradbury & See also:Agnew, with the See also:title Our See also:People. In 1883 Keene, who had hitherto been a strong man, See also:developed symptoms of See also:dyspepsia and See also:rheumatism. By 1889 these had increased to an alarming degree, and the last two years of his life were passed in acute suffering See also:borne with the greatest courage. He died unmarried, after a singularly uneventful life, on the 4th of See also:January 1891, and his See also:body lies in Hammersmith See also:cemetery.
Keene, who never had any See also:regular See also:art training, was essentially an artists' artist. He holds the foremost See also:place amongst English craftsmen in black and See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
white, though his work has never been appreciated at its real value by the See also:general public. No doubt the See also:main See also:reason for this lack of public recognition was his unconventionality. He See also:drew his See also:models exactly as he saw them, not as he knew the See also:world wanted to see them. He found enough beauty and See also:romance in all that was around him, and, in his Punch work, enough subtle See also:humour in nature seized at her most humorous moments to satisfy him. He never required his models to grin through a See also:horse See also:collar, as See also:Gillray did, or to put on their See also:company See also:manners, as was du Maurier's wont. But Keene was not only a brilliant worker in See also:pen and See also:ink. As an etcher he has also to be reckoned with, notwithstanding the fact that his plates numbered not more than fifty at the outside. Impressions of them are exceedingly rare, and hardly See also:half a dozen of the plates are now known to be in existence. He himself regarded them only as experiments in a difficult but fascinating See also:medium. But in the See also:opinion of the See also:expert they suffice to place him among the best etchers of the 19th See also:century. Apart from the etched frontispieces to some of the Punch See also:pocket-books, only three,. and these by nomeans the best, have been published. See also:Writing in L'Artiste for May 1891 of a few which he had seen, See also:Bracquemond says: " By the freedom, the largeness of their drawing and See also:execution, these plates must be classed amongst modern etchings of the first See also:rank." A few impressions are in the See also:British Museum, but in the main they were given away to See also:friends and See also:lie hidden in the albums of the See also:collector.
AUT13oiIr•IES.—G. S. See also:Layard, Life and Letters of Charles Keene of " Punch" ; The Work of Charles Keene, with an introduction and notes by Joseph See also:Pennell, and a bibliography by W. H. Chesson; M. H. Spielmann, The See also:History of " Punch "; M. See also:Charpentier, La See also:Vie Moderne,'No. 14 (188o); M. H. Spielmann, See also:Magazine of Art (See also:March 1891) ; M. Bracquemond, L'Artiste (May 1891) ; G. S. Layard, Scribner's (See also:April 1892) ; Joseph Pennell, Century (Oct. 1897) ; George du Maurier, Harper's (March 1898). (G. S.
End of Article: KEENE, CHARLES SAMUEL (1823–1891)
Additional information and Comments
There are no comments yet for this article.
Please link directly to this article:
Highlight the code below, right click, and select "copy." Then paste it into your website, email, or other HTML.
Site content, images, and layout Copyright © 2006 - Net Industries, worldwide.
Do not copy, download, transfer, or otherwise replicate the site content in whole or in part.
Links to articles and home page are always encouraged.
|
del.icio.us it!