Monday, July 22, 2013

Up Close: E.M. Jackson (2)

This is part of an occasional series dealing with detail images of paintings featuring the brushwork of the artist. Previous posts can be found via the "Up close" topic label link on the sidebar.

The present post deals with Elbert McGran (E.M.) Jackson (1896-1962) who painted covers for leading American magazines such as Saturday Evening Post and Collier's. Another post about Jackson in this series is here. Biographical information regarding Jackson is sparse, and this is the most detailed I could locate through a brief Google search.

Featured here is an illustration titled "The Customs Inspector" for a March, 1930 cover of Collier's.

The source of the detail image is explained below:

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The Kelly Collection has what is probably the outstanding holding of American illustration art by private individuals (not organizations). I was able to view part of it at The Frederick R. Weisman Museum of Art at Pepperdine University in Malibu, California towards the end of a January 12 - March 31, 2013 exhibition run. The collection concentrates on illustration art created roughly 1890-1935 and one of its purposes is to further knowledge and appreciation of illustration from that era.

Non-flash photography was allowed, so I took a large number of high-resolution photos of segments of those original works. This was to reference the artists' techniques in a manner not always easy to obtain from printed reproductions. (However, the exhibition catalog does feature a few large-scale detail reproductions.)

I thought that readers of this blog might also be interested in seeing the brushwork of master illustrators up close to increase their understanding of how the artists worked and perhaps to serve as inspiration for their own painting if they too are artists.

Below is an image of the entire illustration coupled with one showing detail. Click on the latter to enlarge.

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A reference photo I took


I noted in the previous post that Jackson's illustrations have a crisp look when reduced to publication size and printed, yet are fairly freely painted. That holds for the illustration featured here; I include it in this series because I like the way he did the faces. One difference from the previously shown Jackson is that the background paint here is not cracking.

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