The Tilley Watch Online…January 8-12, 2024
An end of the week listing of New Yorker artists whose work has appeared on newyorker.com features
The Daily Cartoon: Christopher Weyant, Shannon Wheeler, Ali Solomon, David Ostow & Ellis Rosen, Sarah Kempa
Daily Shouts: Sarah Akinterinwa
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Latest Addition To The Spill Library: The New Yorker July-August 1959 (in a bound volume)
A terrific run of summer issues from the end of the ’50s.
Covers by, among others, Anatol Kovarsky, Whitney Darrow, Jr. Perry Barlow, Garrett Price, Mary Petty, and the beauty shown here by CEM (Charles E. Martin).
Found within the volume is a five page spread by Charles Saxon in the issue of July 18): “The Vineyard.” (Back in 2021, my colleague Paul Karasik did a great New Yorker cartoonists-Saxon-Martha’s Vineyard-centric piece for Martha’s Vineyard magazine).
In the July 25 ’59 issue is an interesting drawing by Mischa Richter. Richter began his six decade New Yorker run in a Peter Arno mold (although, in a phone interview back in 2015, he said to me, when I asked about Arno’s influence, that Arno had no influence on his work whatsoever). If you take a look at the cover drawing of his 1945 collection, This One’s On Me! it’s difficult not to see some Arno graphic DNA.
In this July 25th drawing (shown below) the influence is most definitely George Price. The fellow speaking could’ve been (but wasn’t!) lifted out of a Price drawing. The line work throughout is also Price-ian, but without Price’s trademark split pen line.
Over time, the Richter style became less Arnoesque and more in the Charles Saxon school. As an example here’s an original of a December 1975 Richter New Yorker drawing (my thanks to Attempted Bloggery for this image).
All of this “school of” or “esque” stuff shouldn’t be taken as a negative. A cartoonist’s work is the product of everything taken in, whether we’re aware of it or not.