In the second volume of The Dial, published in 1892 Lucien Pissarro depicts an image fraught with the mythic approach to art that Charles Rickett and Charles Shannon encapsulate their magazine with. Pissarro’s image is a wood block engraving, alike to those Rickett included himself throughout the volume. A wood block engraving allows for Pissarro to create a simple but highly textured design that conveys a country-like softness opposed to the hard-lined ornaments surrounding the volume’s text. “Sister of the Woods” creates a magical atmosphere, evoking a classic Persephone-like figure who is connected to the trees around her. This again, demonstrates the value of the wood engraving method, with ornate textures and lively details in the surrounding scene that create a folk story within the image itself.
Noticeably there is no title for the image on the page inside the volume, or an introduction to the image. This contributes to the integration of image and text as equal, neither are present to embellish or enhance the other but to work together. Rickett and Shannon make sure that neither are completely separate from one another either, all images and text are tied together by their theme of “sheer nonsense” or the fantastic embedded through the entire volume. It conveys a continuous experience due to the text and images being embedded into one another.
Pissarro, Lucien. “Sister of the Woods” The Dial, vol. 2, 1892. The Yellow Nineties 2.0.
Janzen Kooistra, Lorraine. “Critical Introduction of The Dial, vol. 2, 1892″ The Yellow Nineties 2.0.