Ernest Hamlin Baker Portraits for Time Magazine Covers

Ernest Hamlin Baker (1889-1975) was a prolific illustrator best known for his portraits work for Time Magazine covers. I wrote about him here, and David Apatoff provides useful information about him here.

Unfortunately, there otherwise seems to be little background material about him on the Internet, if a brief Google search is any guide.

Below are examples of Time cover portrait art, mostly from the 1940s and World War 2.

Gallery

Dwight Eisenhower
Probably painted when he was President.

Benito Mussolini - 1941
The Italian dictator.

General Sir Harold Alexander
When in command of the Mediterranean theatre for Britain.

General Erwin Rommel - c. 1942
The Desert Fox.

Winston Churchill - 1949
For Time's "Man of the Half-Century" cover that appeared around the start of 1950.

Henry Ford - 1941
Showing Ford Motor Company's gearing up for war production.

Alfred P. Sloan
Chairman of General Motors.  Again having to do with conversion from cars to weapons.

George Marshall
Probably when he was Secretary of State.

Juan and Evita Peron
Argentina's Dictator.

Oveta Culp Hobby - 1944
Col. Hobby led the Woman's Army Corps during the war.

Groucho Marx - 1951
The comedian.  A slightly colorized version of this drawing (or a nearly identical one) was on Time's last 1951 cover.

Frank Wootton Car Drawings

Frank Wootton (1911-1998) is probably best known here in the USA for his illustrations of aircraft and automobiles.   I wrote about his aircraft paintings here and elsewhere (use the Search tool at the right).  But he was more versatile than that: I wrote about his poster art here.  A brief Wikipedia entry on him is here.

The present post presents some car drawings from his "How to Draw Cars" books.  The cover of "Volume 2" is shown above.  It was published in 1955, but contained essentially the same text as the 1949 version.  The difference was that the 1955 edition had many drawings of more recent cars along with a few from 1949.

Wootton had a very nice way of presenting highlights and reflections on dark, shiny surfaces of automobiles.  The images below are mostly from the 1949 book.

Gallery

Sketches of Rovers from the 1955 book.  Previous images are from 1949.

New Mead Schaeffer Book

Mead Schaeffer (1898-1980) is one of my favorite illustrators. I wrote about some of his works here, here, here and here.

Now David Apatoff, America's leading illustration maven, has a book about Schaeffer due to appear in July. The cover is shown above, and information regarding it can be found here. Of course I ordered a copy and eagerly await it.

As I wrote here, Schaeffer claimed that he was happy to move from his signature period-piece illustrations so as to portray contemporary scenes. My take then and now is that his early,  pre- World War 2 illustrations were his best. I suspect Apatoff agrees, because the book's cover art is from that earlier career phase and not one of his later works.

A few examples indicating Schaeffer's stylistic evolution are shown below.

Gallery

A Count of Monte Cristo scene, 1928. Interesting mix of thinly and thickly painted areas.

A 1932 illustration for Good Housekeeping Magazine showing a German scene.

He painted a number of Post covers depicting American military personnel in a variety of wartime activities. Here his style is less painterly -- and far less distinctive, though it might have been more commercially viable given shifts in illustration fashion.

A Post cover from 1953. I do not know the extent to which this bland scene was the idea of Schaffer or that of the Saturday Evening Post's art director.

Rowland B. Wilson's "Trade Secrets"

Here is the amazon.com link to the book whose cover is shown above. It was assembled by Suzanne Lemieux Wilson, widow of cartoonist and concept artist Rowland B. Wilson who I wrote about here.

It seems that Wilson, over a period of time, would take aspects of the craft of graphic art and commit them to paper in a somewhat cartoon-like manner. Eventually, he covered almost all the basic information needed by someone needing to know how to deal with composition, color, form, characterization, and other items in one's professional artist kit. This was the material his widow assembled into the book cited here.

Given the amount of effort he put into this activity, I wonder what his intention was (the book has no introduction explaining how it came to be). I'm not sure that he needed it just for himself, because he was simply displaying what he already knew. Knowledgeable readers are urged to comment on this point.

I have mentioned in my e-book about art and elsewhere that as an art student I never received more than a slight whiff of useful instruction. Either the art faculty at the University of Washington was reacting negatively to the training they had had, or else they were following the trendy idea that any kind of training would destroy their students' innate creativity. Therefore, had this book been been available then, and had I a copy of it, I would have learned much of what I actually needed to know but never learned at the time.

I'm probably wrong, but I wonder if Wilson had encountered at Disney and elsewhere some young fellow employees who had plenty of ability, yet lacked some professional polish because their art training, like mine, had been spotty. Wilson could have helped shape them up quickly, and had this material to do so if that indeed was the situation.

Bottom line: the book offers an entertaining, comprehensive catalog of graphic arts (painting, illustration, cartooning, poster work, etc., etc.) essential basics.

Bottom bottom line: I think a better, more accurate, title would have been "Graphic Art Essentials."

New Book About Haddon Sundblom

Haddon Sundblom (1899-1976) was a leading illustrator for many years and influential in the careers of other illustrators.

Now Dan Zimmer of Illustration Magazine has written a lavishly illustrated book about him (information here). I am quite pleased with it. Some books on illustrators lack details regarding their subjects because illustrators, like many writers, can live somewhat isolated lives due to the nature of their work. Sundblom ran a commercial art studio in Chicago, so there were many people around him that could provide stories. Also, he was quoted in interviews, which helped Zimmer to provide a more rounded portrait than he was able to do in some other cases.

For a quick take on Sundblom, his Wikipedia entry is here.

I posted about him here on 27 February 2012 and here on 8 June 2011. In the latter post, I stated:

"Yet something bothers me just enough that I can't place Sundblom with contemporaries such as Dean Cormwell, John La Gatta and Mead Schaeffer. Maybe it had to do with stereotyping or pigeonholing by clients and art directors. Perhaps it was Sundblom's preference. In any event, the result was that little of his work had drama or "bite" of any kind."

Some of the illustrations in the book invalidate what I thought back in 2011. Sundblom was quite able to paint in styles other than the buttery sort that he is best known for. Some examples are below.

Gallery

Sundblom is best-known nowadays for his depictions of Santa Claus for Coca-Cola. This example is from 1946.

He did a good deal of other work for Coke, such as this 1950 poster.

Coca-Cola illustration from 1937. Again in his buttery oil-painting style.

Red Cross theme poster art.

Now for some editorial art for fiction pieces in magazines: this seems to be from the late 1930s.

From a June, 1957 Ladies' Home Journal.

Now for some illustrations that are not "buttery."

These three images represent top-quality 1930s-vintage magazine illustration, and are far removed from Sundblom's Coca-Cola work.

Finally, a Sundblom story illustration demonstrating his ability to depict ordinary folks, and not glamorous or dramatic types.
Haddon Sundblom was really good.

Edmund Dulac Book Illustrations

Edmund Dulac (1882-1953) was yet another artist who abandoned a professional career track (law, in his case) for art. He also left his native country (France) for another (England) where he became a noted book illustrator. His Wikipedia entry is here, but a much more useful source for art fans is this post by Jim Vadeboncoeur that offers insights regarding how changes in printing technology worked to Dulac's advantage.

It seems that Dulac's book illustration heyday was between 1905 and the start of the Great War -- a relatively short span. His career continued with moderate success until his death.

Those heyday illustrations were mostly for classical fantasies, often Orientalist subjects. They are charmingly done, though today's Politically Correct crowd would probably find their usual reasons to hate them.

Take a look at some of them below, if you dare.

Gallery

Circe the Enchantress

The Emperor's New Clothes

From the Rubaiyat of Omar Khayyam

"Open, Sesame!"

The Fisherman and the Genie

Princess Scheherazade

Edwin Georgi, Famous Illustrator with Minimal Biography

Edwin Georgi (1896-1964) is the subject of a fine new book crammed with his illustrations. I wrote about Georgi's early illustration years here. For more information about the book, you can click here.

One thing that struck me was how limited the biographical part was. For example, no date of death was mentioned. And the text was the same or nearly that of an article in Illustration Magazine's issue No. 30 (Summer, 2010) written by its editor/publisher Dan Zimmer, who also authored the new book. I then grabbed my copy of Masters of American Illustration: 41 Illustrators and How They Worked to see how it treated Georgi. Again, not a lot was said. A brief Google search turned up next to nothing new.

What is reported regarding Georgi is interesting. He attended Princeton and was on the Tigers' football team. When the USA entered the Great War, he became an Army pilot. Like many, he was shot down in those pre-parachute times, but survived the crash only to be hospitalized for a year. He became an illustrator in the 1920s and had a very successful career into the early 1960s. At some unstated point he married and then had children. He owned several houses and continued to fly. And that was about all important biographical information about him that I've been able to find. Zimmer did have contact with family members, but little information about his career and artistic methods seems to have come from them.

So, what to make of this? Maybe Georgi was a very private man. Another possibility, given the large amount of work included in the book, is that he spent much of his time laboring to hit his deadlines and spent the rest of his time as a normal, upper-middle class American in the 1940s and 50s.

New Suzanne Valadon Biography

There are a few artists whose personal lives are more interesting than their work: Frieda Kahlo immediately comes to mind. Then there are others where paintings and biographies come close to striking a balance. Salvandor Dalí is a famous example. A less well-known example is Suzanne Valadon (1865-1938), whose biography is lightly sketched here. For some, she is best known for being the mother of Maurice Utrillo, a more famous Montmartre painter.

A while ago I visited the Montmartre museum housed in a building where she had her apartment and studio for a number of years. I took photos and posted about it here and here. Probably as a result of those posts the publisher of "Renoir's Dancer: The Secret Life of Suzanne Valadon" by Catherine Hewitt sent me a review copy. The book, already available in England, is due to be published in the USA late February: Amazon link here.

The image on the cover is of probably the most famous painting for which she modeled. It's by Renoir (hence the book's title), who depicted women in something approaching a uniform style. That's why the young lady doesn't resemble Valadon as closely as it might. During her modeling days, she slept around a lot, probably the reason for the book's subtitle. As for modeling, other famous artists she worked for included Puvis de Chevannes and Toulouse-Lautrec. The latter encouraged her drawing efforts (she was a "natural"), but it was the prickly Degas who was most responsible for giving her confidence and help.

I have a tattered 1959 edition of "The Valadon Drama: the Life of Suzanne Valadon" by John Storm (link to recent reprint here). I skimmed through it before reading Hewitt's book so as to have a mental yardstick for evaluation. There are other Valadon biographies out there, given her colorful life.

So why another Valadon biography? The author, who has a doctorate, set her goal as providing a well-researched treatment that would be accessible to the general public. Did she succeed?

Well, the bibliography is extensive, even referencing dozens of newspaper articles and web sites as well as the expected books and journal articles. She provides suitable background information on Valadon's various living environments as well as on the famous and not so well-known people in her life. This should be useful for readers who have little knowledge of the 1880-1935 Paris art scene or even France in general during that time. Hewitt mentions many of Valadon's paintings during the course of the book along with paintings and drawings made of her by famous artists for whom she posed (and sometimes more!). My review copy has no color images of such works nor a contents reference to any. However, the English edition has color inserts, so presumably there will be the same for the American edition. After all, it can be frustrating to read about paintings without being able to see them, so that is good. Paintings mentioned, but not in the book, can often be found via the internet, if a reader is especially curious.

The main substantive difference from Storm's book is the he insisted that she was never legally married to Paul Moussis, whereas Hewitt makes it clear that she was indeed married to him.

My main complaint about Hewitt's treatment is that she fairly often mentions the mental and emotional states of Suzanne, her mother, and some others that are not documented in the many footnotes. That is, she is making educated guesses. I assume that to keep the narrative flowing for her target audience, she does not qualify these statements. For example, she might have written "Suzanne was probably most worried about Maurice's latest drunken spree." I invented that sentence, but if it had appeared in the book, the word "probably" would not be found. My stripped-down review copy has no author introduction, so if there is one in the published version, perhaps Hewitt will mention her reasoning regarding this policy.

New Book About Illustrator/Cartoonist John Cullen Murphy

The book whose cover is shown above is about illustrator/cartoonist John Cullen Murphy (1919-2004) and fellow cartoonist friends living in or near Fairfield County Connecticut during the early 1950s and beyond. It was written by his son Cullen Murphy who for many years worked with his father on the Prince Valiant comic strip. Some links dealing with Murphy are here and here.

A few weeks ago the Wall Street Journal had a favorable review of the book. Having grown up during the final glory decades of continuity and adventure comic strips, I almost immediately ordered a copy from Amazon. When it arrived, I read the whole thing in a single five-hour shot.

I was aware of John Cullen Murphy, but never followed his Big Ben Bolt strip or Prince Valiant, created by Hal Foster who transitioned it to Murphy starting in 1971. The reason is that both strips were from Hearst's King Features distribution syndicate, whereas my parents subscribed to the Seattle Times, and not to the Seattle Post-Intelligencer, the local Hearst rag.

It turns out that John Cullen Murphy was an impressive man. He was good at portraiture even in his mid-20s, could have made a good career in commercial illustration had he not been diverted into the comic strip trade, and was knowledgeable and sophisticated even though his academic education ended with high school. As for the latter point, it's further proof that real education can happen once one has left school -- provided one has the will and wits to learn on one's own.

Murphy was raised in New Rochelle, New York, in the county immediately north of New York City. Nearby lived famous illustrators J.C. Leyendecker and Norman Rockwell. Rockwell even used teen-aged Murphy as the subject of a Saturday Evening Post cover (shown in the book). During World War 2 he was attached to Douglas MacArthur's staff and remained friends with Mrs. MacArthur (whose portrait he painted) for many years thereafter.

Besides Murphy family lore, the book provides many interesting details regarding well-known cartoonists who lived nearby. Also included are fascinating insights on the comic strip trade including Hal Foster's thoughts on treating continuity for strips appearing only on Sundays.

Bernie Fuchs vs. Post Magazine's Fake Cars

I just got my copy of David Apatoff's long-awaited book about Bernie Fuchs, who many of us consider the greatest illustrator active in the waning days of large-circulation, general-interest magazines. Actually, Fuchs can be ranked as one of the very best American illustrators ever.

During his brief career-building phase (he rocketed to the top by the time he was in his late 20s) Fuchs spent a few years in Detroit working on advertisement and brochure illustrations for automobiles. He mostly did backgrounds and settings, leaving rendering of the car to a specialist. But Apatoff's book suggests that he might have illustrated cars from time to time: he definitely paid close attention to how that was done.

Because of that background, he wasn't afraid to include cars in some of his advertising and editorial assignments, and those cars were easy to identify. That is, he didn't invent his own designs for generic cars.

This is in contrast to the depiction of automobiles on covers of the Saturday Evening Post, the leading American general-interest magazine for most of the first two-thirds of the 20th century. I did a Google search for usable images of Post covers that included automobiles for inclusion in this blog post. I didn't turn up every Post cover from 1945 through 1959 (my target era). All covers can be found on the Post web site, but they are watermarked and therefore not usable here. What I found was that most car designs were totally made up by the illustrator. In a few cases, cars pictured were close to actuality, but partly hidden by other subject matter.

Why did this happen? The Saturday Evening Post was a favorite "ad buy" for advertising agencies with automotive clients. Every issue could be counted on having a number of car ads. So my guess is that the magazine's editors and art directors instructed illustrators to avoid portraying actual cars, this so that advertisers would not be offended. ("Hey, guys, we spend tons of money on Chevrolet ads and your latest cover featured a Ford!! Are you giving them a free plug or something? We just might switch more of our budget to Life and Collier's.")

If anyone knows for sure why the Post featured generic cars, please let us know in Comments.

Gallery

Fuchs story illustration showing a mid-1950s Volkswagen. Click on the Fuchs images to enlarge.

At the left is a 1960 DeSoto. Behind it, across the street, is a 1959 Plymouth. I'm not sure why Bernie was featuring Chrysler Corporation products here.

This Fuchs view of the Brooklyn baseball stadium in the late 1940s might have been painted in the mid-1970s, judging by the style. The blue car at the right is a 1946-48 vintage Chrysler. Note that Fuchs has a blurred image of a man screening part of the sharply-done car. Amazing how he combined the two styles without destroying the car's details. He must have painted the car first and very carefully added the man and his hat. The car behind the Chrysler is a 1946 Buick.

Here Fuchs fudged things slightly. The car is a 1957 Imperial (yet another Chrysler product).
But he didn't paint a small point on the chrome strip above the headlights, above which was a small crest. That is, he very thinly disguised the car.

Saturday Evening Post - 24 March 1945
This wartime illustration, when no American cars were being built, shows a 1941 Ford. A reference book of mine has a photo of what seems to be this car -- same police sign, same license plate.

Saturday Evening Post - 22 September 1951
This police car is a 1949 or 1950 Ford. However, clipping off the front and rear ends and placing the man in front of the car make it hard to identify for many people.

Saturday Evening Post - 8 September 1956
One last Post example of an identifiable car. It is a 1954 Mercury with some distinctive side trim abaft of the door missing. Placing all the camping stuff in front of the car also helps to disguise it. The image's watermark is because this is a slightly cleaned-up cover by a poster-selling firm.

Saturday Evening Post - 3 October 1953
Now we show what was typical for the Post. The front of the car is somewhat like a 1950 Cadillac, but the rest is nondescript.

Saturday Evening Post - 4 August 1956
These cars look vaguely like early '50s General Motors models, but they lack brand identification ornamentation.

Saturday Evening Post - 8 December 1956
The cars pictured in this cover are totally contrived (though the side trim on the red car is similar to some 1956 Ford's).

Saturday Evening Post - 15 November 1958
The wraparound windshield is similar to 1954-56 General Motors "C" body cars, but the rest of the car illustrated here is imaginary.

Saturday Evening Post - 21 May 1949
A totally imaginary design. However, in the background is what looks like a Jeep station wagon.

Saturday Evening Post - 1 August 1959
The cars in the foreground are imaginary, but farther away I notice shapes and trim that remind me of mid-50s production cars. But their images are so tiny and partial that it doesn't matter.

Saturday Evening Post - 5 January, 1952
I used this Coby Whitmore cover in another post. Whitmore was a total car guy and knew full well what different brands looked like. But had to come up with his own designs here.