An interesting cover this week, reminiscent of Arthur Getz‘s great city landscapes: a dark city view with a small area of bright lights slicing through. That contrast of dark with dramatic light was close to a Getzian specialty (similar scenes were also beautifully painted by a number of other New Yorker artists through the years). If you can, get hold of The Complete Book of Covers From The New Yorker (Knopf, 1989) — you won’t regret it.
For more on the current cover, you can read about the artist, Pascal Campion here.
The Cartoons/Cartoonists:
Some cartoons of note in this issue:
The solid drawing on page 22 of two couples about to cross paths on a suspended narrow rope bridge marks Hartley Lin‘s cartoon debut in the magazine.
As happily the case with Lars Kenseth‘s work, his stone man on page 30 is something outside the norm.
Hilary Fitzgerald Campbell‘s cinematic post-party drawing on page 51 is terrific, as is Olivia de Recat’s Alarmist Clock on page 63.
On page 59, another cartoonist’s New Yorker debut: Karl Stevens.
Mr. Lin and Mr. Stevens are the first new New Yorker cartoonists of 2019, and the 25th and 26th new cartoonists making their debut in the magazine since Emma Allen became the New Yorker‘s cartoon editor in May of 2017.
…before I turn out the lights on this post, let us not forget that Rea Irvin’s beautiful Talk masthead (below) is still in storage. Read all about it here.
