By the late 1940s, Harold Ross, The New Yorker’s legendary founder and first editor, had assembled either by happy accident or design (depending on which version of the magazine’s history you want to believe) a stable of magazine cartoonists unrivaled in American publishing. Some have called that era of the magazine’s cartoons its Golden Age. The guiding forces of the
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Anatol Kovarsky at 94: Still Drawing After All These Years
At 3 o’clock on a Wednesday afternoon in late June, my wife and I, wearing our cartoonist historian hats, were welcomed into an apartment in a pre-war building along Manhattan’s west side. We made our way through a short hallway to a foyer lined with paintings. There were paintings on the walls, and paintings lined
Read moreTina Brown on The New Yorker’s Cartoonists: “Anyone Who is Funny is Miserable”
Speaking this morning at Columbia University’s Graduate School of Journalism Publishing Course, Tina Brown, editor in chief of The Daily Beast, said that when she arrived at The New Yorker as its new editor in 1992 (replacing Robert Gottlieb), she found the magazine’s cartoonists were “the most aggressive” when it came to changes she was making at the magazine. According
Read moreAuthor’s Progress Report: Thomas Vinciguerra on his Cast of Characters: Wolcott Gibbs, E.B. White, James Thurber, and the Golden Age of the New Yorker
(above: foreground: Fritz Foord, Wolcott Gibbs, Frank Case (owner of the Algonquin Hotel) and Dorothy Parker. Standing, left to right: Alan Campbell, St. Clair McKelway, Russell Maloney and James Thurber. An Ink Spill Exclusive: Wolcott Gibbs and Co. in Upcoming Group Portrait There’ve
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