Snooping around The New Yorker’s database this morning led me to discover that Albert Hubbell, who was published by The New Yorker from 1943 thru 1985, had one cartoon published by the magazine, and so he is instantly added to Ink Spill’s New Yorker Cartoonists A-Z. There couldn’t be a better moment to talk a little more about Mr. Hubbell’s career, so here then is his A-Z entry, posted moments ago:
Albert Hubbell (photo above from the Wilton Bulletin, taken in the early 1960s) Born, Duluth, Minnesota, 1908. Died, 1994, Fairfield, Connecticut.
After spending time at The Art Students League in New York, and some time studying in Paris, Mr. Hubbell worked for a short time as Book Editor for both Time and Newsweek. He worked briefly at The Chicago Sun before joining the New Yorker where he began contributing to Notes & Comment (his first contribution was in the issue of January 16, 1943), as well as fiction.
In the April 22, 1944 issue, he contributed a cartoon (run full page) — his only cartoon to appear in the magazine. During his last twenty years at the magazine, his contributions were mostly covers – nineteen of them appeared between 1964 and 1985. His distinctive spot drawings also appeared in the magazine for many years. Seemingly foreshadowing his run of covers, he told a reporter from the Wilton (Connecticut) Bulletin in 1961 that “I’ve been trying — and succeeding — in enlarging the spot drawings. Now I’m doing bigger ones and getting away with it.”
Mr. Hubbell holds a unique position as the only temporary Art Editor in The New Yorker’s history, filling in for James Geraghty, the magazine’s Art Editor from 1939 thru 1973. Hubbell held the temporary position for the first four months of 1943 while Geraghty was away participating in classes for the Volunteer Officer Corps.
It’s not difficult to imagine Mr. Hubbell was thinking of his own work when he wrote the following in his introduction to William Steig’s 1990 collection, Our Miserable Life:
“…graphic art is best dealt with on its own terms — lines and hatchings and smears and smudges put down on paper to convey a thought about something, or just to create a drawing, like Steig’s of a rainy day, for its own sweet sake.”