The Monday Tilley Watch

The Monday Tilley Watch is a meandering take on the cartoons in the current issue of The New Yorker.

 

 

Expecting something political on the July 31st cover it was a surprise when Javier Mariscal‘s water’s edge pastoral popped up on my screen (I’m looking at the digital version of the magazine; I’ll look at the print version when it arrives. Two different experiences). My first thought: if James Stevenson had worked in stained glass, this might be the result. Here’s an example of what I was thinking (a Stevenson cover from October 1975, and Mr. Mariscal’s on the new issue):

 

 

 

 

 

 

 

A note before heading into the issue: I have a habit of not looking at the cartoonists listed on the Table of Contents — I look at everything else on the TOC, but want to be completely surprised by the cartoons as I page through. I see on the TOC that Bruce McCall has a Shouts & Murmurs piece — things are already interesting.  On my way to “The Talk of The Town”  I stopped to examine the illustration on page 8 by Henning Wagenbreth. Glad I stopped — enjoyable illustration, and, bonus: the name Henning Wagenbreth is now a new favorite name.

Moving on: a quick look at the Talk masthead —  it’s still the revamped version brought in a few months back. I ask the power(s) that be to reconsider and bring back Coke Classic (i.e., Rea Irvin’s masterpiece masthead  — shown directly below — that led off Talk from January 30, 1926 through May 15, 2017). 

It should be noted (and maybe I did note it once on this site): Tom Bachtell is the contemporary artist behind the drawing appearing on the opening Talk page and many of the others sprinkled through the rest of Talk, but the small spots that look like this:

are by the late great Otto Soglow (fondly remembered by many for his creation,  “The Little King”). Mr. Soglow supplied the Talk spot drawings in earlier times (pre-Lee Lorenz years as Art Editor).   We are lucky his work is still appearing here some forty-two years after his death.

And now, finally to the cartoons: the first is by Sara Lautman, whose first New Yorker drawing appeared in March of last year. If the search function on the digital edition is correct, this is her 6th New Yorker appearance. A few pages later is a David Sipress drawing.  Mr. Sipress’s active line is immediately recognizable, as is the New York City subway setting (the subway has been in the news quite a lot, with the Mayor of NYC taking a well -publicized ride just yesterday). Next is a drawing by Paul Karasik (whose new book, How to Read Nancy was mentioned here last time, so I’m mentioning it again). In Mr. Karasik’s drawing, Grant Wood’s American Gothic farmer returns to the New Yorker.  During Charles Addams’ long run at The New Yorker he had a lot of fun with Mr. Wood’s pitchfork-wielding farmer, as well as at least one of the other folks at the bar in Mr. Karasik’s drawing.

Here’s Addams working with the American Gothic duo– this from The Charles Addams’ Mother Goose.

And here’s a link to another.

And here’s Addams with a roomful of recognizable subjects, including Mona Lisa

But I, uh, digress…so back to the issue at hand. Opposite Mr. Karasik’s barflies is a timely drawing by Liza Donnelly featuring colluding ice cubes. As with Roz Chast’s drawing from the last issue, I like the way this drawing has been placed on the page.  Today’s New York Times carries the headline “‘I Did Not Collude,’ Kushner Plans to Tell Senate Investigators” — hmmm

Several pages later we come to another well-placed/sized drawing — this one’s by Harry Bliss. As noted on yesterday’s Spill, it’s “Shark Week” on The Discovery Channel. It’s also summertime. Mr. Bliss manages to celebrate both, as well as tipping his hat to lifeguards (a New Yorker colleague, John O’Brien, was a longtime lifeguard in Wildwood, New Jersey. I believe he’s the only New Yorker artist with those intersecting credentials). Next is a kangaroo cartoon (also well placed & sized) by Liana Finck (who was mentioned on the Spill yesterday for several reasons…both good). Here we have a drawing that, stylistically (and maybe even thematically) brings to mind a cross between Ed Arno and Arnie Levin, with even a dash of Bill Woodman tossed in to the mix.  In the end, of course, it’s pure Finck.

A Seth Fleishman Newton’s Cradle cocktail drawing follows Ms. Finck’s. Mr. Fleishman, like the aforementioned Ms. Lautman, started at The New Yorker in the early months of last year —  his generous use of black against white made (and make) his work easy to pick out in the crowd. A Roz Chast six-parter follows (Ms. Chast’s first New Yorker appearance was in 1978). I failed to mention last week that Ms. Chast has a new book coming out this Fall: Going Into Town: A Love Letter To New York.

A Paul Noth prison drawing is next (Mr. Noth’s first New Yorker appearance was in 2004)  — Mr. Noth has a book coming out as well — it’s not due until next year, but I’ll mention it here anyway.  Someone should do a collection of New Yorker prison cartoons. Three pages following Mr. Noth’s drawing is the very recognizable work of Drew Dernavich.  If you want to know a little more about how he works, visit Jane Mattimoe’s Case For Pencils post here.  Three more pages brings you to one of the newest kids on the block (first New Yorker appearance: November 14, 2016): Lars Kenseth. In this drawing, Mr. Kenseth meets King Arthur, sort of. For some reason I wanted the caption to have the word “sticky” in it, but “licked” comes close enough.

Two pages on we find a drawing by cat and elephant-lover, Danny Shanahan, who’s been contributing to The New Yorker for 30 years.  No one draws  elephants like Mr. Shanahan (he’s even had a New Yorker elephant cover).   

Another new kid, Ellis Rosen is up next (first New Yorker appearance: December 12, 2016). I like birds-in-flight cartoons. Carl Rose, Lee Lorenz, and a number of other colleagues have offered them up to us over the years.

On the opposite page from Mr. Ellis’s drawing is a drawing executed in the instantly recognizable  style of William Haefeli (first New Yorker appearance: 1998). The Spill’s archive is lucky enough to have one of Mr. Haefeli’s original New Yorker drawings.  Visitors who are shown the piece are usually surprised by its size (it’s quite small) and its complexity (his originals look even more complex in person than on the printed page or screen).

A few pages later, we have what looks like a Smith Bros. cough drop board meeting —  a bunch of bearded men courtesy of Carolita Johnson (first New Yorker appearance: 2003), followed by a cat and dog living room situation by Christopher Weyant (first New Yorker appearance: 1998; Mr. Weyant is the  illustrator of a recent childrens book, I Am (Not) Scared by Anna Kang).  I love the way Mr. Weyant draws cats (he joins the Well-drawn Cat Club; I won’t list all the members for fear of possibly leaving someone out).  Tom Toro’s next (first New Yorker appearance: 2010) with a rarity: a lethal-signage cartoon. Kudos to the author of Tiny Hands. 

Mr. Toro’s drawing is followed by a Liam Walsh cartoon featuring a smallish fish with a big appetite (Mr. Walsh’s first New Yorker appearance: 2011). I already mentioned Bill Woodman above, but I’ll mention him again. I see fishing cartoons and I think Woodman. For some examples check out his book, Fish and Moose News (published in 1980). 

 

Lastly, the newest of the newbies, Maggie Larson, whose first New Yorker drawing appeared in last week’s issue.  I can’t recall how many massage-related cartoons have been in The New Yorker. At least one, now (someone with a better database than mine please let me know of others).

 

And that’s that.

 

 

 

 

 

 

   

 

 

 

 

 

 

 

 

New Yorker Cartoons Golden Age Editor; Roz Chast in San Francisco; More Spills with Nguyen, Rosen, Eckstein, Flake, Finck, Donnelly and Arno

 

 

 

 

Rounding out this historic week for New Yorker cartoons and cartoonists as we say “Goodbye” to Bob Mankoff and “Hello” to Emma Allen is an article from the early 1970s as another transition was about to take place: long-time New Yorker Art Editor, James Geraghty  was beginning to think retirement, but his successor was not yet in place (the successor would be Lee Lorenz). See the Geraghty article here at Attempted Bloggery

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Roz Chast was recently out west for the opening of the traveling exhibit “Roz Chast: Cartoon Memoirs”– here’s a brief interview with her from The Jewish News of California, posted April 26th, 2017: “Life’s Funny Like That: New Yorker Cartoonist’s Memoir on Exhibit at CJM”

 

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Jeremy Nguyen and Ellis Rosen will be unveiling their rejected cartoons at the Downtown Variety Hour on May 1st. Details here. ________________________________________________________________________________

My favorite snowman expert, Bob Eckstein, has been out in the Windy City on a Spring tour promoting his lovely new book, Footnotes From the World’s Greatest Bookstores Here’s a short interview with him from The Chicago Tribune.

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…A reminder  that the upcoming Pen World Voices Festival of International Literature will present  Women In Ink, with a boffo panel featuring Emily Flake, Roz Chast, Liana Finck, and Rayma Suprani. Liza Donnelly will moderate. Details here.

 

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Finally, for those who enjoy the obscure: the Swann Galleries has a 1932 Peter Arno poster up for auction on May 25th.  A beauty! Details here.

 

 

 

 

 

 

 

The Tilley Watch: New Yorker’s 16th new cartoonist of 2016; An Arno Ad

Tilley Watch...

The inclusion of a cartoon by Ellis Rosen in the December 12th issue of The New Yorker marks a record-breaking moment for new cartoonists added to the magazine’s stable; so far in 2016  16 new cartoonists have been published. Last year 15 new cartoonists were added. In 2014, 13 new cartoonists were added.  Between 1997, when Bob Mankoff became Cartoon Editor and initiated his so-called open door policy, through 2013, the average number of new cartoonists per year was 5.

Link here to Mr. Rosen’s website.

 

...Also of note in the December 12th issue: a full page (under the heading Sketchbook) by the fabulous George Booth.

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From the Department of Shameless Self-promotion

Regular visitors to Ink Spill may have noticed that I do not run ads on the site. I’m making an exception just this once and posting an ad produced by my publisher, Regan Arts. And as long as I’m bringing up Arno, I thought I’d share Edward Short’s thoughtful review of Arno in the December issue of England’s Literary Review. It appears below the ad.

And with that, I bid self-promotion adieu…at least for what’s left of this year.

pa-ad

 

The Great Satyrist Peter Arno: The Mad, Mad World of the New Yorker’s Greatest Cartoonist By Michael Maslin (Regan Arts 287pp $26.95)

Many things made the New Yorker successful in its heyday. The magazine showcased the work of America’s best humorists, from James Thurber and Robert Benchley to Dorothy Parker and S J Perelman. Its eccentric founding editor, Harold Ross, knew how to coax good work out of his writers, even though he was fanatical about fact-checking. (Thurber recalled that if the Empire State Building were mentioned in a piece, Ross would not let it run until someone had called to verify that it was still standing.) The magazine could count on an audience ripe for its signature wit and sophistication. As F Scott Fitzgerald wrote, ‘New York had all of the iridescence of the beginning of the world … there was gala in the air.’ But what ultimately made the magazine a hit was its cartoons, and the greatest of its cartoonists was Peter Arno. The patrician son of a judge who disinherited him after he dropped out of Yale, Arno turned to cartooning largely to spite his father. Indeed, the butts of his cartoons were often men of his father’s class and generation, greybeards at play in the new cafe society that emerged after the First World War. When his father divorced his English mother to marry a secretary sixteen years his junior, Arno was given his greatest character: the sugar daddy infatuated with buxom showgirls and typists on the make. If Evelyn Waugh got his own back at his Dickens-loving father by sending up his mania for the Victorian novelist in A Handful of Dust, Arno got revenge on his by creating cartoon after cartoon showing what he nicely referred to as the ‘goggle-eyed lubricity’ of ageing lotharios. In Peter Arno, Michael Maslin (a cartoonist for the magazine himself) serves up the first full-length biography of the handsome, high-living, debonair artist. Before Arno, most cartoons in American publications were formulaic and decorous. In his bold, often sexually suggestive cartoons, Arno introduced a new urbanity, at once whimsical and subversive. Without Arno’s lead, as the artist in Maslin appreciates, the New Yorker might never have published the cartoons of Thurber, Charles Addams or Saul Steinberg, all of whom owe Arno an immense debt. As for Arno’s life, Maslin shows how the artist spent much of his time ringing the midnight bell in swanky nightclubs. Maslin gives a particularly memorable glimpse into Prohibition New York when he describes Ross closing down a speakeasy he had created for his staff after finding Arno and his first wife, Lois Long, deshabille on the floor. Apparently, as Long later recalled, the couple began drinking in the afternoon and simply forgot that they were married and had an apartment of their own to go to. On the subject of his club crawls, Arno could be eloquent: ‘At no time in the history of the world have there been so many damned morons gathered together in one place as New York right now … The town squirms with them … You don’t do good work of this sort unless you’re mad at something.’ If saeva indignatio was one source of his talent, a fine sense of the ridiculous was another. In one of his cartoons, a man bathing in the sea turns to a young woman and says, ‘Pardon me, Miss. You’re standing on my flippers.’ In another, an old satyr cavorts before a young blonde sitting beneath a tree. Her response is immortal: ‘Oh, grow up!’ At the end of his life, weary of playing the sardonic bon vivant, Arno left Manhattan for Westchester, where he discovered the joys of country life before succumbing to emphysema. He also found that he could forgive his papa. His last cover for the New Yorker shows an old polar bear touching noses with one of his cubs, a fitting farewell to the anger that had animated his earlier muse. Maslin’s book is a fascinating tribute from one artist to another, which does proper justice to a masterly draughtsman and an inspired wag.