Character
Leech was a rapid and indefatigable worker. Dean Hole claims to have observed the artist produce three finished drawings on the wood, designed, traced, and rectified, "without much effort as it seemed, between breakfast and dinner". The best technical qualities of Leech's art, his precision and vivacity in the use of the line, are seen most clearly in the first sketches for his woodcuts, and in the more finished drawings made on tracing-paper from these first outlines, before the chiaroscuro was added and the designs were transcribed by the engraver. Turning to the mental qualities of his art, it would be a mistaken criticism which ranked him as a comic draughtsman. Like Hogarth he was a true humorist, a student of human life, though he observed humanity mainly in its whimsical aspects,
- "Hitting all he saw with shafts
- With gentle satire, kin to charity,
- That harmed not."
The earnestness and gravity of moral purpose which is so constant a note in the work of Hogarth is indeed far less characteristic of Leech, but there are touches of pathos and of tragedy in such of the Punch designs as the Poor Man's Friend (1845), and General Février turned Traitor (1855), and in The Queen of the Arena in the first volume of Once a Week, which are sufficient to prove that more solemn powers, for which his daily work afforded no scope, lay dormant in their artist.
The purity and manliness of Leech's own character are impressed on his art. We find in it little of the exaggeration and grotesqueness, and none of the fierce political enthusiasm, of which the designs of James Gillray are so full. Compared with that of his great contemporary, George Cruikshank, his work is restricted both in compass of subject and in artistic dexterity.
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