Ernest Howard Shepard

Ernest Howard Shepard studied at Colet Court and Heatherley School of Fine Art. The recorded working language is English. The field of work recorded is painting, illustration and young adult literature. Works named in the authority record are Winnie-the-Pooh series and The Wind in the Willows. Work by Ernest Howard Shepard is recorded in the collections of Victoria and Albert Museum, Brandywine Museum of Art, Harry Ransom Center, Newport Museum and Art Gallery and Anne Frank House. Distinctions recorded are Military Cross and Officer of the Order of the British Empire.

• Honorific Suffix — OBE MC • Birth Name — Ernest Howard Shepard • Born — 10 December 1879 • Died — 24 March 1976 • Birthplace — St John's Wood, London, England • Place of death — Midhurst, England • Battles — World War I • Other Work — Artist and book illustrator of The Wind in the Willows and Winnie-the-Pooh • Children — Mary Shepard Graham Shepard

• Illustration — Shepard's house in Lodsworth, marked with a blue plaque Shepard was born in St John's Wood, London, son of Henry Dunkin Shepard, an architect, and Jessie Harriet, daughter of watercolour painter William Lee. Having shown some promise in drawing at St Paul's School, in 1897 he enrolled in the Heatherley School of Fine Art in Chelsea. After a year there, he attended the Royal Academy Schools, winning a Landseer scholarship in 1899 and a British Institute prize in 1900. There he met Florence Eleanor Chaplin, whom he married in 1904. By 1906, Shepard had become an established illustrator, having produced work for illustrated editions of Aesop's Fables, David Copperfield, and Tom Brown's Schooldays. He began contributing to Punch in 1907 after submitting illustrations to the magazine two or three times a week. The couple moved to Shamley Green, near Guildford, in 1905. Shepard's paintings appeared in a number of exhibitions, including the Royal Society of Artists in Birmingham, the Glasgow Institute of Fine Arts, the Walker Art Gallery in Liverpool (twice), the Manchester Art Gallery, and the Royal Academy in London (sixteen times). His wife, who was also a painter, found a home in London's West End venue for her own modest output during a 25-year career.

When World War I broke out in 1914, Shepard was in his mid-thirties and received a commission as a second lieutenant in the Royal Garrison Artillery, an arm of the Royal Artillery. He served with the 105th Siege Battery, which crossed to France in May 1916 and went into action at the Battle of the Somme. By the autumn of that year, Shepard started working for the Intelligence Department, where he sketched the combat area within the view of his battery position. Throughout the war, he continued to contribute regularly to Punch, including drawings and paintings of the European countryside he travelled to. Shepard's wartime cartoons were grounded in direct observation, drawing on his lived experiences as an officer on the Western Front. They depicted the soldiers' everyday lives, focusing on their experiences in the trenches and often highlighting the contrast between official narratives and the soldiers' realities. His illustrations were extremely detailed, depicting the British military's shortage of clothing and equipment, and the soldiers' hunger and physical exhaustion. On 16 February 1917, he was made an acting captain whilst second-in-command of his battery, and briefly served as an acting major from late April to early May of that year during the Battle of Arras before reverting to acting captain. He was promoted to substantive lieutenant on 1 July 1917. Whilst acting as captain, he was awarded the Military Cross. His citation read: For conspicuous gallantry and devotion to duty. As forward Observation Officer he continued to observe and send back valuable information, in spite of heavy shell and machine gun fire. His courage and coolness were conspicuous. Later in 1917, his battery participated in the final stages of the Battle of Passchendaele where it came under heavy fire and suffered a number of casualties. At the end of the year, it was sent to support a disastrous situation on the Italian Front, coming into action on the Montello Hill. Shepard remained with his battery for their victory at Vittorio Veneto. After the Armistice of Villa Giusti in November 1918, Shepard was promoted to acting major in command of the battery, and given the duty of administering captured enemy guns. Demobilisation began at Christmas 1918 and the 105th Siege Battery was disbanded in March 1919.

After the war, Shepard was hired as a full-time cartoonist at Punch. He would meet weekly with the other employees to discuss upcoming political cartoons. He was promoted to lead cartoonist in 1945. Here, when working closely with publisher E. V. Lucas, he was introduced to A. A. Milne. Lucas encouraged Milne to release several verses of When We Were Young in Punch prior to the book's release, and Shepard's illustrations accompanied eleven of these from January to June 1924. Shepard viewed his association with Punch as highly prestigious, given its connection to legacy artists John Tenniel and Ebenezer Landells, his wife's grandfather. He was removed from this post in 1953 by Punch's new editor, Malcolm Muggeridge. His work was also part of the painting event in the art competition at the 1928 Summer Olympics. When World War II broke out, Shepard produced a short series of political cartoons commenting on heavily involved political leaders, such as Adolf Hitler and Benito Mussolini. However, he regarded himself as less suited for caricature and returned to illustration. Unlike most cartoonists, he avoided exaggerated or aggressive caricature and instead used a restrained and subtle style to convey commentary. Some critics have agreed, commenting on the poor fit of his delicate technique for political satire cartooning.

• Illustration — A. A. Milne and E. H. Shepard memorial in Ashdown Forest Content with Shepard's illustrations in When We Were Very Young, Milne insisted Shepard illustrate Winnie-the-Pooh. Milne and Shepard worked well together, meeting frequently for tea to share Milne's notes and Shepard's sketches, or occasionally to explore Ashdown Forest, the inspiration of the Hundred Acre Wood, which housed Milne's characters. Shepard's illustrations are captivating because they come from real-life observation, such as spending time in the forest or familiarizing himself with children's toys; he was always seen with a sketchbook as he would sketch from real life. His illustrative style has been described as naturalistic, characterized by gentle, loose line work. Especially when sketching landscapes, he retained the looseness of his initial sketches in his finished illustrations, reflecting close observation of natural forms. Shepard often depicts figures with a clear sense of purpose, even when physically at rest. His thoughtful approach to landscape, especially trees, reflects this as he focuses closely on how they grow, stand, and are experienced from within or beneath their branches. More generally, he used a lost-and-found style in his landscape illustrations to suggest form through selective detail, allowing the reader to complete the image; when drawing characters, he used a gone-over line style, which is heavier and more defined. According to Nilay Erdem Ayyildiz, associate professor at Fırat University, these techniques, along with Milne's plot, present characters like Pooh as both inanimate toys and characters capable of thought and feeling. According to Ayyildiz and Erica Wetter, executive editor of humanities at Stanford University Press, Shepard's illustrations visually reinforce this duality, and readers often rely on these illustrations to understand the plot and humor. Shepard often annotated his sketches to ensure an in-depth spatial understanding and consistency. For example, in The House at Pooh Corner, when Owl's house collapses and its orientation shifts, he first drew the house upright and labeled how each element would transform once overturned. Realising Shepard's contribution to the book's success, the writer arranged for Shepard to receive a share of his royalties. Milne also inscribed a copy of Winnie-the-Pooh with the following personal verse: When I am gone, Let Shepard decorate my tomb, And put (if there is room) Two pictures on the stone: Piglet from page a hundred and eleven, And Pooh and Piglet walking (157)... And Peter, thinking that they are my own, Will welcome me to Heaven. In the 1960s, the Walt Disney Company acquired the licensing rights to Winnie-the-Pooh and vowed that animation would adhere closely to Shepard's original illustrations. For example, in The Many Adventures of Winnie the Pooh (1977), Milne's map of the Hundred Acre Wood was shown at the start of the film and backgrounds of the book's pages were spread throughout. Yet, Shepard's characters became increasingly Disneyified, moving away from his naturalistic line work towards a more rounded and exaggerated form. Over time, Disney largely erased Shepard's visual influence, as seen in details such as Pooh's consistent depiction in a red t-shirt.

• Illustration — Shepard's grave at St Peter's Church, Lodsworth Shepard lived at Melina Place in St John's Wood and from 1955 in Lodsworth, West Sussex. He and Florence had two children, Graham (born 1907) and Mary (born 1909), who both became illustrators. Lt. Graham Shepard died when his ship HMS Polyanthus was sunk by German submarine U-952 in September 1943. Mary married E.V. Knox, the editor of Punch, and became known as the illustrator of the Mary Poppins series of children's books. Florence Shepard died in 1927. In November 1943 Shepard married Norah Carroll, a nurse at St Mary's Hospital, Paddington. They remained married until his death on 24 March 1976. In 1966, he called the Disney Animation short film Winnie the Pooh and the Honey Tree a travesty.

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* • Campbell, James, Shepard's War: E.H. Shepard, The Man who Drew Winnie-the-Pooh, London: LOM Art, 2015,. * * Articles *