Philip William May, universally known as Phil May, stands as one of the most influential and beloved black-and-white artists of the late Victorian and Edwardian eras. His remarkable ability to capture the essence of character and movement with an astonishing economy of line set him apart from his contemporaries and left an indelible mark on the art of illustration and caricature. This exploration delves into the life, work, and enduring legacy of a man whose art was as vibrant and engaging as the London streets he so brilliantly depicted.
Nationality and Professional Background
Phil May was unequivocally English, born in New Wortley, a working-class district of Leeds, Yorkshire, on April 22, 1864. His early life was marked by hardship. His father, an engineer with a failed brass foundry business, died when Phil was just nine years old. His mother, the daughter of a theatre manager, struggled to support the family, and May received little formal schooling. This early exposure to poverty and the vibrant, often harsh, realities of street life would profoundly inform his later artistic subjects.
May's artistic inclinations surfaced early. He was largely self-taught, honing his skills by sketching the characters he encountered. His professional career began in his early teens, working as a timekeeper in a foundry, but his passion for drawing soon led him to seek work as an artist. He contributed sketches to local Leeds newspapers like the Yorkshire Gossip and the short-lived Busy Bee. At around fifteen, he ventured to London, enduring periods of extreme poverty, sometimes sleeping rough in the city's parks, all the while sketching voraciously.
His first regular employment as an illustrator came with the London society paper St. Stephen's Review in 1883. This provided some stability, but a pivotal moment in his career occurred in 1886 when he was offered a position with The Sydney Bulletin in Australia. He spent three transformative years there, from 1886 to 1888 (though some sources say until 1889). The Bulletin was a radical, nationalistic, and highly influential publication, and May's direct, incisive style flourished in this environment. He developed his characteristic economy of line, learning to convey maximum information with minimal strokes, partly due to the limitations of the printing processes of the time. His work for The Bulletin significantly raised his profile and refined his artistic identity.
Upon his return to London, May's reputation preceded him. He began working for prestigious publications such as The Graphic, a leading illustrated weekly. His fame truly solidified when he joined the staff of Punch in 1895, succeeding George du Maurier. Punch was the pinnacle of British satirical and humorous illustration, and May's contributions, often depicting London's working class, street urchins ("guttersnipes"), and cockney characters, became immensely popular. He also published a series of highly successful Phil May's Winter Annuals and Summer Annuals starting in 1892, which further cemented his status as a leading illustrator. His professional background was thus rooted in popular press and periodical illustration, making his art accessible to a vast audience.
Representative Works and Artistic Style
Phil May's artistic style is instantly recognizable for its brilliant simplicity and expressive power. He was a master of omission, famously stating, "The art of Phil May was not to put in, but to leave out." This economy of line was not a shortcut but a highly refined skill, developed to capture the very essence of his subjects without superfluous detail. Each line was purposeful, conveying form, movement, and character with remarkable precision. This approach contrasted sharply with the more detailed, often heavily cross-hatched, style prevalent among many Victorian illustrators.
His representative works are numerous and primarily found within the pages of the publications he contributed to and his own annuals.
Key examples include:
His contributions to Punch: From 1895 until his death, May produced a vast number of cartoons for Punch. These often featured his iconic "guttersnipes," costermongers, cabbies, and other figures from London's lower and middle classes. Titles like "Things We See When We're Out Without Our Gun" or drawings depicting humorous street-corner exchanges are typical.
Phil May's Gutter Snipes: 50 Original Sketches in Pen and Ink (1896): This collection specifically highlighted his affectionate and humorous portrayal of street children, capturing their resilience and wit.
The Parson and the Painter: Their Wanderings and Excursions among Men and Women (1891): This was an early success, illustrating a travelogue with his characteristic lively sketches.
Phil May's Sketch-Book: Fifty Cartoons (1895): A popular compilation of his work, showcasing his range and distinctive style.
Phil May's Illustrated Winter Annual and Summer Annual (from 1892): These collections were eagerly anticipated and contained a wealth of his drawings, often depicting scenes of everyday life, holidays, and social observations.
His style was characterized by:
Linear Purity: He avoided excessive shading or cross-hatching, relying on the strength and placement of individual lines.
Dynamic Movement: May had an exceptional ability to capture figures in motion, making his characters appear alive and energetic.
Characterisation: With a few deft strokes, he could convey a subject's personality, social standing, and mood. His faces are particularly expressive.
Humour and Humanity: While often humorous and satirical, May's work generally displayed a warmth and empathy for his subjects, particularly those from the working classes. He observed without condescension.
Social Realism: He depicted the world around him, especially the urban landscape of London, with an unflinching yet sympathetic eye. His work provides a valuable visual record of the era's social fabric.
The influence of Japanese woodblock prints, with their flat perspectives and emphasis on line, can be discerned in May's work, an aesthetic shared by contemporaries like James McNeill Whistler, who greatly admired May's draughtsmanship. Whistler is famously quoted as saying, "Black and white art is summed up in two words—Phil May." This succinct praise from such a distinguished and often critical artist speaks volumes about May's unique talent. His style was modern for its time, prefiguring aspects of 20th-century graphic art and cartooning.
Anecdotes from Philip William May's Life
Phil May's life, though tragically short, was filled with the kind of color and incident that often characterized bohemian artists of his time. He was known for his generosity, his wit, and his somewhat erratic lifestyle.
One of the most frequently recounted aspects of his personality was his open-handedness. Despite earning considerable sums once he became famous, May was often in financial straits due to his generosity to friends and strangers alike, and his sometimes improvident ways. He was known to give away his last shilling to someone he perceived as needier. This generosity extended to his art; he would often dash off sketches for admirers or in lieu of payment in pubs and restaurants.
His method of working was also a subject of interest. While his finished drawings appeared spontaneous and effortless, they were often the result of numerous preliminary sketches and careful observation. He would spend hours observing people in the streets, in pubs, and at racecourses, filling notebooks with rapid studies. However, when it came to the final execution, he worked quickly and decisively. It was said he could produce a finished drawing for Punch in a remarkably short time.
There's a well-known story illustrating his famous principle of "leaving out." An editor, perhaps accustomed to more detailed work, once questioned a drawing, asking where a particular character's other leg was. May, with his characteristic dry wit, is said to have replied that it was "behind the one you can see," or simply implied that the viewer's imagination could fill in the blanks. This underscored his confidence in his minimalist approach.
His time in Australia was also formative. He embraced the less formal, more egalitarian society there, and it's said that the bright Australian light influenced his move towards a cleaner, more open style. He was a popular figure in Sydney's bohemian circles.
Despite his professional success and jovial public persona, May battled ill health for much of his adult life. He suffered from tuberculosis, exacerbated by his lifestyle, which often involved late nights and heavy drinking. Friends and colleagues, like the writer G.R. Sims, often expressed concern for his well-being. His illness ultimately led to his premature death at the age of 39.
Another anecdote speaks to his popularity and the value placed on his work even during his lifetime. It's said that sketches he made on tablecloths in restaurants were sometimes cut out and preserved by the proprietors. His signature alone became a mark of distinction. He was a bon vivant, a familiar and beloved figure in the London social scene, particularly in artistic and theatrical circles. His studio in Holland Park Road became a gathering place for fellow artists and writers.
Philip William May's Interactions with Contemporary Painters and Illustrators
Phil May moved within a vibrant artistic milieu and naturally interacted with many leading painters and illustrators of his day. His unique talent and affable personality made him a respected and well-liked figure.
One of the most significant artistic relationships was his mutual admiration with James McNeill Whistler. Whistler, a towering figure in the art world known for his aestheticism and sharp wit, was a profound admirer of May's economy of line and mastery of black and white. Whistler's famous quote, "Phil May, is a master. Black and white art is summed up in two words—Phil May," is a testament to this high regard. This appreciation was likely mutual, as both artists shared an interest in Japanese art and the principle of artistic selectivity.
Within the influential circle of Punch magazine, May worked alongside other distinguished illustrators. These included:
Linley Sambourne: A senior cartoonist at Punch known for his intricate and detailed political cartoons. Sambourne's style was vastly different from May's, representing a more traditional Victorian approach to illustration.
Bernard Partridge: Another prominent Punch cartoonist, later Sir Bernard Partridge, known for his classical draughtsmanship and serious political cartoons.
Harry Furniss: An energetic and prolific illustrator who had a significant tenure at Punch before May, known for his caricatures of politicians, particularly Gladstone.
George du Maurier: May's predecessor in providing social cartoons for Punch. Du Maurier's elegant drawings often depicted upper-middle-class society, contrasting with May's focus on working-class life.
May was also a contemporary of artists associated with the "New Art" or Art Nouveau movement, such as Aubrey Beardsley. While their styles and subject matter were vastly different—Beardsley's work being more decadent, stylized, and often controversial—both were masters of black and white line and pushed the boundaries of illustration. It's likely they were aware of each other's work, given their prominence in London's artistic circles.
In the broader London art scene, May would have encountered figures like Walter Sickert and Philip Wilson Steer, leading members of the New English Art Club, where May himself exhibited. Sickert, like May, was drawn to depicting scenes of everyday London life, including music halls, though his medium was primarily paint.
His predecessors at Punch, such as John Leech and Charles Keene, had established a strong tradition of social commentary and humorous illustration. May particularly admired Keene, whose naturalistic and unpretentious style, focusing on ordinary people, resonated with his own artistic sensibilities. Keene's influence on May is often noted by art historians.
During his time in Australia, May worked alongside Livingston Hopkins ("Hop"), another influential cartoonist for The Sydney Bulletin. They were key figures in establishing the Bulletin's distinctive visual style.
Other notable illustrators of the period whose work May would have known, and who formed part of the landscape of British graphic art, include Randolph Caldecott, known for his charming children's book illustrations, and Kate Greenaway, whose idyllic depictions of childhood were immensely popular. While their subject matter and style differed, they all contributed to a golden age of British illustration.
The French illustrators and caricaturists, such as Honoré Daumier (though earlier, his influence persisted), Théophile Steinlen, and Henri de Toulouse-Lautrec, were also part of the international artistic conversation. Toulouse-Lautrec, in particular, shared May's interest in capturing the life of cabarets and ordinary people with a dynamic, linear style.
May's interactions were not limited to visual artists. He was friendly with many writers and theatrical personalities, including the playwright George Bernard Shaw and the actor Sir Henry Irving. These connections further enriched his understanding of the social and cultural life he depicted. His studio was a hub, and his presence was sought after, indicating a man well-integrated into the creative fabric of his time.
Art Groups or Exhibitions Philip William May Participated In
While Phil May was primarily known for his prolific work in periodicals and his own published annuals, he did participate in formal art exhibitions, which helped to solidify his reputation beyond the realm of popular illustration and gain recognition from the established art world.
One of the most significant venues where May exhibited was the New English Art Club (NEAC). Founded in 1886 as an alternative to the Royal Academy, the NEAC was a progressive exhibiting society that attracted artists influenced by French Impressionism and Post-Impressionism. May exhibited works there, including "The Little Dook" in 1895. His participation in NEAC shows indicates his connection with the more avant-garde currents in British art and the respect his draughtsmanship commanded even among painters. Artists like Walter Sickert, Philip Wilson Steer, and Frederick Brown were central figures in the NEAC.
May was also elected a member of the Royal Institute of Painters in Water Colours (RI) in 1897. This was a prestigious body, and his membership acknowledged his skill in a medium beyond pen and ink, although his watercolour work often retained the linear quality of his drawings, with washes of colour added.
His work was, of course, constantly "exhibited" to a vast public through the pages of Punch, The Graphic, The Sydney Bulletin, and his own annuals. These publications served as his primary gallery. The accessibility of his work in these widely circulated journals meant he reached a far larger audience than most painters who relied solely on gallery exhibitions.
After his death, several memorial exhibitions were held, which further showcased the breadth and quality of his oeuvre. The Leicester Galleries in London, known for exhibiting modern British art, held a significant memorial exhibition of his work in 1903, shortly after his passing. This exhibition was instrumental in cementing his posthumous reputation and brought together a large collection of his drawings, allowing for a comprehensive assessment of his talent. Further exhibitions and retrospectives have occurred over the decades, reaffirming his status.
It's also worth noting that collections of his original drawings were sought after by private collectors even during his lifetime. The distinction between "illustrator" and "fine artist" was perhaps more fluid for someone of May's exceptional talent, and his original pen-and-ink drawings were appreciated for their intrinsic artistic merit, much like the drawings of old masters.
While he may not have been a prolific exhibitor in the traditional gallery sense compared to full-time painters, his participation in key societies like the NEAC and RI, and the posthumous attention his work received from reputable galleries, underscore his acceptance and recognition within the broader art community. His most impactful "exhibition space," however, remained the printed page, which brought his art directly into the homes of thousands.
Philip William May's Social Activities and Historical Impact
Phil May's social activities were largely intertwined with his professional life and his bohemian inclinations. He was a gregarious figure, frequently found in the pubs, music halls, and streets of London, not just as an observer but as an active participant in the city's vibrant social tapestry. These environments were his real-life studios, providing him with an endless stream of subjects and inspiration. His presence in places like the Savage Club, a London gentlemen's club for those in arts, literature, and science, connected him with a wide array of creative individuals.
The historical impact of Phil May is multifaceted:
1. A Chronicler of an Era: May's drawings serve as an invaluable visual record of late Victorian and Edwardian society, particularly the often-overlooked lives of London's working class, street traders, and children (his "guttersnipes"). He captured their attire, their slang (through his witty captions), their resilience, and their humour with an authenticity that few others achieved. His work offers a counterpoint to the more formal, often idealized, depictions of the era. He documented the rise of the "New Woman," the everyday scenes at racecourses like Epsom and Ascot, and the bustling energy of urban life.
2. Influence on Illustration and Cartooning: May's revolutionary economy of line had a profound impact on subsequent generations of illustrators and cartoonists. He demonstrated that immense character and dynamism could be achieved with minimal means, moving away from the dense, detailed style of many of his Victorian predecessors. Artists like David Low, the celebrated political cartoonist, acknowledged May's influence. His approach prefigured the cleaner lines of much 20th-century graphic art.
3. Humanizing the Working Class: At a time of rigid class distinctions, May's depictions of the poor and working classes were notable for their lack of condescension. He portrayed them with empathy and humour, highlighting their humanity and wit. This helped to make these often-invisible members of society more visible and relatable to the wider, often middle and upper-class, readership of publications like Punch.
4. Elevating Black-and-White Art: May was a master of black-and-white art, and his success helped to elevate the status of illustration as a legitimate art form. His technical brilliance was recognized by fine artists like Whistler, bridging the gap that sometimes existed between "high art" and popular illustration.
5. Contribution to Periodical Culture: May was a key figure in the "golden age" of illustrated periodicals. His work significantly contributed to the popularity and cultural impact of magazines like Punch and The Graphic. These publications played a crucial role in shaping public opinion and disseminating cultural values, and May's art was central to their appeal.
6. Reflection of Bohemianism: May's own lifestyle, characterized by a certain disregard for convention and a camaraderie with fellow artists and writers, reflected the bohemian subculture of the period. This, too, had a cultural impact, representing an alternative to staid Victorian respectability.
His early death in 1903, at the age of just 39, cut short a brilliant career, but his impact was already firmly established. The affection in which he was held is evident in the numerous obituaries and tributes that appeared, mourning the loss of not just a great artist but a beloved personality. His legacy endures in his drawings, which continue to charm and inform, offering a vivid window into the world he inhabited and a masterclass in the art of expressive line. He captured a specific moment in London's history with an unparalleled vivacity and skill.
Art Critics' Evaluation of Philip William May
Phil May garnered significant critical acclaim during his lifetime and posthumously, with art critics and fellow artists alike recognizing his exceptional talent, particularly his mastery of line and his ability to capture character.
One of the most famous and impactful evaluations came from James McNeill Whistler, a notoriously discerning critic. Whistler's declaration that "Black and white art is summed up in two words—Phil May" was high praise indeed. Coming from an artist of Whistler's stature, who championed aestheticism and the principle of "art for art's sake," this endorsement highlighted May's artistic purity and technical brilliance, elevating him beyond the status of a mere popular entertainer.
Contemporary critics writing in art journals and newspapers widely acknowledged May's genius. M. H. Spielmann, the editor of The Magazine of Art and a historian of Punch, wrote extensively about May, praising his "unerring draughtsmanship," his "faculty of selection," and his "unfailing perception of character." Spielmann emphasized May's ability to convey so much with so few lines, noting that this apparent simplicity was the result of intense observation and profound skill.
Critics often highlighted his unique position in British art. He was seen as a successor to earlier British satirists and social commentators like William Hogarth in his keen observation of society, though May's humour was generally gentler and less biting than Hogarth's. Comparisons were also made with John Leech and Charles Keene, his predecessors at Punch. While Leech was beloved for his genial humour and Keene for his naturalism and depiction of the lower-middle classes, May was seen as bringing a new dynamism and modernity to the tradition, particularly with his focus on urban street life and his radically economical style.
The term "genius" was frequently applied to him. Critics lauded his ability to capture not just the appearance but the very "soul" of his subjects. His drawings were seen as living documents, full of vitality and truth. His depictions of London's "East End" types, the costermongers, flower girls, and street urchins, were particularly praised for their authenticity and sympathetic humour. He was credited with an "instinctive" understanding of human nature.
Even those critics who might have traditionally valued "high art" (painting and sculpture) over illustration recognized May's exceptional skill. His work was seen to possess a truthfulness and artistic integrity that transcended its medium and its appearance in popular journals. The memorial exhibitions, such as the one at the Leicester Galleries, provided opportunities for critics to assess his oeuvre more formally, and the consensus was overwhelmingly positive.
However, like any artist, especially one working in a popular field, there might have been an undercurrent of snobbery from some quarters that viewed illustration as inherently less "serious" than painting. But May's sheer talent largely overcame such prejudices. His influence on other artists was also a key part of his critical evaluation; his style was so distinctive and effective that it inevitably spawned imitators, though few could match his innate skill.
Posthumously, his reputation has remained high. Art historians continue to recognize him as one of the foremost British illustrators and a significant social chronicler of his time. His work is valued not only for its artistic merit but also for its historical and sociological insights. The enduring appeal of his drawings, their ability to still evoke laughter and empathy over a century later, is perhaps the most telling testament to his critical standing. He is consistently ranked among the greatest black-and-white artists Britain has produced.
