The New Yorker’s 89th Anniversary Issue

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A very happy 89th  birthday to The New Yorker.   While there’s no classic Eustace Tilley cover this year (the last time we saw Tilley as Rea Irvin* intended was in 2011, we do have, according to the Art Editor, Francoise Mouly, “the first published Tilley painted on an iPhone”; inside the magazine, not including the drawings on the Caption Contest page, are sixteen cartoons by fifteen cartoonists (Joe Dator‘s work appears twice). Two of the drawings contain some color (a cartoon by Ben Schwartz & one by Edward Steed).  Color cartoons were once so unusual in the magazine that when they appeared in The New Yorker‘s 64th anniversary issue in 1989, N.R. Kleinfield wrote a piece about it for The New York Times (“Inside New Yorker, a Splash of Color”). The color appeared in a four page spread by William Steig.

 

 

*Below: Rea Irvin’s entry on Ink Spill‘s New Yorker Cartoonists A-Z:

Rea Irvin  (pictured above. Self portrait above from Meet the Artist) *Born, San Francisco, 1881; died in the Virgin Islands,1972. Irvin was the cover artist for the New Yorker’s first issue, February 21, 1925.  He was the magazine’s  first art editor, holding the position from 1925 until 1939 when James Geraghty assumed the title. Irvin became art director and remained in that position until William Shawn succeeded Harold Ross. Irvin’s last original work for the magazine was the magazine’s cover of July 12, 1958. The February 21, 1925 Eustace Tilley cover had been reproduced every year on the magazine’s anniversary until 1994, when R. Crumb’s Tilley-inspired cover appeared. Tilley has since reappeared, with other artists substituting from time-to-time.

Below: the first issue of The New Yorker, February 21, 1925.  Cover by Rea Irvin.

Irvin

Rea Irvin’s Last New Yorker Cover

Irvin's Last

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

If you read The New Yorker you are very familiar with at least one of his covers: his first one.  Mention The New Yorker and one of the images that comes to mind for most people is Eustace Tilley, the top-hatted gentleman who appeared on the magazine’s inaugural cover in 1925 and returned thereafter, mid-February, for sixty-eight straight years, to mark each of the magazine’s anniversaries (for more on what happened next with and to Tilley, you can link here to “Tilley Over Time” a newyorker.com piece of mine that appeared in 2008).

 

That first cover was by Rea Irvin, who was  hired by The New Yorker’s founder and first editor, Harold Ross, when Ross began cobbling together his urban magazine with little appeal to the little old lady in Dubuque. Irvin’s duties – he was taken on as art consultant – are chronicled in Genius in Disguise, Thomas Kunkel’s wonderful biography of Harold Ross,  as well as in The Art of The New Yorker by Lee Lorenz.  There is universal agreement among The New Yorker’s writers and artists that Irvin’s part in shaping the magazine’s art was invaluable.

 

Beyond his role as consultant, Irvin was a prolific cover artist and cartoonist, contributing nearly two hundred covers and a bit over 250 cartoons to the magazine. If you happen to have The Complete Book of Covers from The New Yorker (Knopf, 1989) you have the luxury of paging through the years and locating each and every Irvin cover — not at all difficult once you’re accustomed to his style.

 

It has been noted in numerous places, including Irvin’s New York Times obit (May 29, 1972) that once Harold Ross passed away in December of 1951, Irvin “feuded” with the magazine. Lee Lorenz, among others, has written that when William Shawn officially succeeded Ross in January of 1952, one of the first things Shawn did was encourage Irvin to retire (Shawn also undid Ross’s famous roomful of editors going over the week’s art.  Under Shawn, the art meeting became a duet: Shawn plus James Geraghty, and later, once Geraghty retired, Shawn plus Lorenz).  I suppose something could be made of the fact that the end of Irvin’s cartoon contributions coincides with the year of Ross’s death, but it’s not all that tidy a coincidence (the last Irvin cartoon was published February 10, 1951; Harold Ross died December 6, 1951). Irvin’s covers, however, continued on for another six years.  From 1952 (the beginning of the Shawn era) through 1958 (when Irvin’s last New Yorker cover appeared) there were five    a remarkable drop considering he had 20 covers in the last six years of Ross’s editorship.

 

Irvin’s final non-Eustace Tilley New Yorker cover appeared midway through the sleepy summer month of July, sandwiched between a July 4th cover by Abe Birnbaum and a beautiful Ilonka Karasz cover of tourists in a cathedral. The image, of a golfer and his caddy searching for a lost ball, was another New Yorker cover “moment” – one of so many great moments Irvin gave us over the years.

RI

 

 

See more of Irvin’s art at
The New Yorker‘s Cartoon Bank

 

 

 

 

 

 

 

 

The New Yorker before Addams, Steig and Steinberg

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With the release this past week of The New Yorker’s Cartoons of the Year 2013 (a relative of a long line of New Yorker Albums seen in the photo) I thought it would be fun to leaf through The New Yorker‘s very first collection, simply called The New Yorker Album. published in 1928, just three years after the magazine’s debut. For starters, I love this part of the introduction (authored by “The New Yorker”):

The New Yorker has been dealing with artists for upward of three years.  We are tired but happy.  Our artists, we feel, have been worth the trouble. They have taken the electric and protoplasmic and comic town and reduced it to page size. To be merry and wise and subtle every week is scarcely possible; but there have been good weeks.

If you substitute the “upward of three years” to “upward of eighty-eight years” the excerpt could’ve easily introduced the 2013 collection.

The very first cartoon you run into in the 1928 collection is a full page by Peter Arno.  This makes perfect sense as Arno was, just  three years into the New Yorker’s life, already its star (his co-star was Helen Hokinson).  Arno was fond of the full page cartoon, but paging through the Album, you’ll find he had plenty of company in that department. Ms. Hokinson, Rea Irvin, Gluyas Williams, George Shanks, Al Frueh, Gardner Rea, and Reginald Marsh, to name but a few, all worked well on a full page (you’ll find a number of full page cartoons in the 2013 collection, but none originally ran as such; full page cartoons in the modern New Yorker are rare, with Roz Chast’s work being one of the exceptions.

What might be remarkable to anyone looking through the 1928 Album is the absence of plenty of the marquee names we associate with the magazine’s past. Cartoonists such as  Charles Addams, William Steig, Saul Steinberg, Thurber and George Price had yet to begin contributing drawings to the magazine (Thurber had begun contributing his writing in 1927, but The New Yorker’s founder & first editor, Harold Ross, wouldn’t publish a Thurber drawing in the magazine until 1931). Addams’ work didn’t appear until 1933, Steig’s not until 1935, Steinberg’s not until 1941, George Price’s not until 1932.  The Album of 1928 was a blueprint for what was to come in later years on the magazine’s pages: a variety of styles, of cartoon worlds, beautifully co-existing.

Much as the 2013 collection is heavy on a handful of cartoonists, such was the case in 1928.  The aforementioned Hokinson, Irvin, Rea, Frueh and Arno command the most space, with plenty of full pages.  Alan Dunn and Barbara Shermund’s work is everywhere, but mostly half-page or quarter-page. Work by other familiar names (or soon to be familiar names) are sprinkled about the volume.  There’s a single Mary Petty drawing (if my counting is correct) with healthier showings by, among others, Otto Soglow, Perry Barlow, Leonard Dove, Peggy Bacon, John Held, Jr., Alajalov (still spelled “Aladjalov”), I. Klein, Carl Rose and Garrett Price (in an early style, far less fluid than his later work). There are a few spreads in the Album (unlike the spreads in the 2013 Cartoons of the Year,  which were created specifically for that publication, the 1928 spreads ran in the The New Yorker).

What struck me as I looked back and forth between the 1928 collection and the 2013 collection (much as a spectator watches the ball during a tennis match) is that here we are eighty-eight years after the magazine’s debut,  still highly entertained, and yes, sometimes still puzzled, by the very simple format Harold Ross and company fostered and nurtured: a drawing atop a caption.  Every week we continue to dive into each issue, turning the pages, eager to run into the next cartoon (and lately, the Cartoon Caption Contest cartoon).  As someone commented on this site following a post on the Cartoons of the Year, “Can’t wait for the shiny new cartoons of 2014.”   Me neither. 

 

 

 

 

 

 

 

   

 

 

 

 

Harold Ross’s Last Cartoonist: Dana Fradon

Fradon:Antic

 

 

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 New Yorker‘s art (besides Harold Ross, of course) were Rea Irvin (who is most known for creating The New Yorker’s signature mascot,  the top-hatted Eustace Tilley) and the magazine’s first Art Editor, James Geraghty,  a former gagman who began working  at the magazine in 1939 and retired in 1973.

 

As mentioned on this site this past summer in a profile of Anatol Kovarsky, there are just four surviving New Yorker cartoonists from the Ross era: Frank Modell, James Stevenson, Anatol Kovarsky and Dana Fradon. Mr. Fradon was the last cartoonist contracted by Mr. Ross, who died in December of 1951.

 

Fradon’s first New Yorker cartoon (below), published May 1, 1948, launched a career that spanned half a century; he went on to contribute nearly fourteen hundred more cartoons, placing him in the stratosphere of such other New Yorker artists as William Steig, Alan Dunn, Robert Weber, Warren Miller, Helen Hokinson, Lee Lorenz, Mischa Richter, Robert Day, and the aforementioned, James Stevenson and Frank Modell.

 

Fradon:1st

 

A native of Chicago, Fradon studied at the Art Institute there, and later, following service in the army during WWII, he studied at The Art Students League in New York. Fellow classmates included future New Yorker colleagues, Joseph Mirachi, Herbert Goldberg, and James Mulligan.

 

In a recent phone and email conversation with Mr. Fradon, who is now 91, we covered a lot of territory, from his beginnings at the New Yorker all the way up to today and whether he’s still thinking up ideas for cartoons.

 

Beginning our conversation, I asked Mr. Fradon if he had any thoughts as to why the Art Students League turned out so many New Yorker cartoonists.

 

“It’s a great school, it’s in New York, it’s cheap, and there were no marks given or attendance taken; a future cartoonists paradise.”

 

Michael Maslin: What brought you to The New Yorker—was it that that was the place to go?

 

Dana Fradon: No, I didn’t know anything about The New Yorker.  My sister married Albert Hubbell and then I heard about The New Yorker [Mr. Hubbell was a jack-of-almost-all trades at The New Yorker, contributing fiction as well as pieces for the Talk of The Town.  He was, briefly, The New Yorker’s Art Editor during WWII when James Geraghty left for service.  He was also a cover artist and contributor of “spot” drawings as well as an in-house idea man, creating captions for cartoonists, including, among others, Mary Petty] I admired Albert and I admired some of the things he pointed out [in the magazine]. I decided that’s where I would channel my work.

 

I did the first cartoon that Geraghty took notice of when I was still in the service. Apparently, when Geraghty showed my work to Ross, he threw Geraghty out of the office.  Geraghty said to me later, with that nice little grin he had that he [Geraghty] didn’t think what I sent in was that bad. It was a panel gag—I still remember it—it was rejected,  but nevertheless Geraghty said, “Keep coming.”

 

MM: I noticed that your first five cartoons in the magazine were captionless—was that happenstance, or was that something you were doing a lot of?

 

DF: I guess that’s what I thought Geraghty thought was funny. In the beginning I had the idea that he was buying only stuff of mine that was rather topical. And I thought that was a restriction—that I could not do the ordinary funny gag—that they were just going to want politically topical stuff. And I thought that would limit me. I didn’t know that it would become, in a sense, my hallmark. I thought at first it was a sign of failure—that I couldn’t do the straight old cartoon. But of course I did end up doing those kinds of cartoons as well.

 

MM: In the beginning you had almost two different styles. You had a heavier style and a looser style.

 

DF: I think the thicker lines came after about five years, ten years—that was still early in a career that spanned 50 years. I went to a felt tip marker that was heavier; I look back at those drawings and I really like them better than some of the thinner line drawings I did later in life. It was not a conscious change—it was a change in paper, and what kind of pen I used.

 

MM: You were trying to find your way?

 

DF: Absolutely. I was trying to find my way for about thirty years.

 

MM: Let’s talk about Geraghty. Obviously he was a huge part of your career.

 

DF: He was a huge part of The New Yorker magazine.  His taste was what guided the magazine—in cartooning and in those days, all the artwork. He bought the spots and the covers. He’s best described by something which has become reasonably common knowledge. He said it to me originally about making a drawing beautiful. He said, “Make it beautiful, Dana. Make it beautiful.”  And very often he would OK a drawing—the final OK would either be Ross’s or Shawn’s—or he would bring to their attention cartoons which were borderline funny but would make magnificent drawings.

 

It was Geraghty’s belief that New Yorker cartoons provoked a chuckle (not laughter) and, of course, much thought. He once went through an act with me imitating a commuter on the New Haven R.R., city bound, opening and skimming through his recently arrived New Yorker. I can imitate every one of Jim’s marvelous gestures and soft grunts (chuckles) to a tee.

 

MM: And the “magnificent drawings” bought—would they be tinkered with?

 

DF: Towards the end under Lee [Lee Lorenz, James Geraghty’s successor as Art Editor], maybe because I was more experienced, there was not much tinkering. But yes, in the beginning there was tinkering down to the last finger. You couldn’t even distinguish where the fingers were [on] my early rough drawings.

 

MM: Did you ever meet Harold Ross?

 

DF: Never met Ross, but nodded to him dozens of times. My only close experience with Ross was at one of the first huge parties the New Yorker threw at the old Ritz-Carleton. Geraghty gave my then wife [the cartoonist, Ramona Fradon] and I an invitation. My wife said, “Fasten your eyes at the guy at the next table.” It was Ross.  So I fastened my eyes on him, and he looked at me like I was a freeloader or something. Everything I know about Ross I heard from Albert [Hubbell]. Albert was the be-all and end-all if you wanted a connection with Ross—he had it and he had total recall.

 

I can’t tell you much about Ross except that I accepted from the beginning that he had impeccable taste.  That was the greatest period of drawing, if not ideas: Arno, and those other guys—Whitney Darrow, Robert Day—all brilliant.

 

MM: I have a list of names I want to run by you, but first, before I forget, I want to ask you if you ever provided ideas for Peter Arno, or anyone else?

 

DF: Yes, Arno, one or two, and for Charlie Addams, half a dozen to a dozen—he was another wonderful artist. You might say Geraghty would look at me and say, “This needs a better artist.” But then it got to where he would give me a trade. He’d say “This would be better if George Price did it.” And he’d give me a simple idea. [Mr. Fradon recalled one idea given to Addams, of Martians coming to the door on Halloween.  It ran in The New Yorker November 1, 1952]

 

MM: When I was researching the Arno biography at the New York Public Library, and looking through The New Yorker’s archives there, I found a lot of interaction, a lot of back and forth—idea-wise—between artists.

 

Fradon:Modell kids

 

DF: When I first started working there—it might’ve been about the tenth cartoon I did—it was a couple of kids watching television, a close-up on the kids. Geraghty didn’t like the faces on the kids.  I couldn’t do kids; now I can, but then I couldn’t at least not on the New Yorker level. Frank did one of the faces on one of my drawings on one of my kids. He [Frank] was sitting out there in the office and Geraghty said, “Just a second” and took the drawing out and Frank did the face and they bought it [the cartoon appears above].

 

MM: We do that around here sometimes.  Liza [Donnelly] will ask me for some help on perspective and I’ll ask her to help me with cats. We have cats here, but that doesn’t help me—I still can’t draw them.

 

DF: Well, certain poses, they’re [cats] hard to draw. You know, Ramona used to do all my horses. It wasn’t until I started doing kids books, and I was divorced, that I learned to do my version of the horse, which is more like a merry-go-round horse. I learned to draw them out of necessity because Ramona wasn’t there to draw them for me. There are a couple of my New Yorker cartoons with horses in them, and she drew the horses.

 

MM: There’s one I have here on my desk…you have an invading army…

 

DF: Is it “Beware of dogs?”

 

 

MM: Yes, yes.

 

DF: She didn’t do the finish, I inked them—but she drew the horses.

 

MM: As long as we’re talking about specific drawings, there’s one I thought would make a good title and cover drawing for a collection: “The gods are antic tonight.”

 

DF: That drawing has a story behind it. Lee put the word “antic” in there. I had the “gods are something-or-other” and I believe he changed it to antic. He asked me, of course, if it was ok.  I didn’t get the fine difference between what I had and he had, but apparently the antic thing was pretty cute, and he knew what he was doing.  “Antic” was not in my vocabulary.

 

 

MM: Can you list for me some of the cartoonists you knew back in those early days. Let’s begin with Arno.

 

DF: Never met Arno, never saw Arno but always felt his presence. Knew fairly well: Sam Cobean, the magazine’s other genius; Charlie Addams, Richard Decker, Frank Modell, Whitney Darrow, Mischa Richter, Bill Steig, Dick Taylor, Barney Tobey and many more. I met, casually, Saul Steinberg (I suppose he’s another genius), Robert Day, Chon Day, Alan Dunn and Mary Petty.

 

MM: Did you know Stan Hunt?

 

DF: A nice gentle soul.

 

MM: James Mulligan?

 

DF: He was left-handed, but because of several car accidents, had to learn to draw with his right hand. His last few hundred cartoons were drawn with his right hand.

 

MM: Rea Irvin?

 

DF: Rea Irvin lived in Newtown [Connecticut] for several years. A really sweet guy. Worked with drawing board held in his lap in a, literally, closet-size studio in a large, beautiful colonial. Actually, HE is the genius of The New Yorker. Did the first cover, designed its typeface, and designed the headings, I think, of the various regular columns. Based on his drawing and the variety and depth of his drawing…he’s the number one guy that everyone always forgets about. Rea just seemed like Major Hoople…“woof woof woof”  while he talked, to clear his throat.

 

MM: Speaking of covers…I couldn’t help but notice there was never a Fradon New Yorker cover.

 

DF: I submitted one cover and after about the tenth time of correcting it and fixing it, I gave it up and went back to doing something I knew better: doing cartoons and ideas. I was doing well on the cartoons and beginning to move into kid’s books, where I got all that color out of my system. I never pursued it. The one I did try lent itself mostly to design—there was nothing funny about it.

 

MM: What about Richard Taylor—you mentioned you knew him.

 

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DF: Dick Taylor was a lovely man, and sort of a comic on his own.  He had a unique way of drawing. There’ve been Whitney Darrow look-alikes and Bob Weber look-alikes, and dozens of Cobean look-alikes, and Arno look-alikes; when I say look-alikes, they’re not as good—there was a guy who did a lot of ads—nothing but ads—he was a pale version of Arno. I’ve never even seen a pale version of Dick Taylor.

 

MM: His work—his people were too different weren’t they?  With those giant eyes…

 

DF: And the way he did his washes too. Layers and layers before he got the tone, without it going dead. Whereas most of us…I strive to splash it on as best I can.

 

MM: I loved watching the progression of your drawings from the very first ones to where they became very loose. The energy there—your heads would almost be disconnected from the bodies. I could see you were having a really great time doing these.

 

DF: That, and a little bit of writing is the only thing that absorbed me. And playing baseball.

 

MM: How did you work? Did you go to your desk in the morning, five days a week?

 

DF: Yeah, five or six days a week, I made it a point. The first thing I’d do—the first three hours in the morning, when you’re freshest—is think of ideas. I’d just think of ideas five days a week and come up with twenty or twenty-five of them and then let Geraghty comb through and pick out what he thought was funny.

 

The routine for thinking of ideas—you may feel the same way—I have no formula for thinking of an idea. It’s more of free association. You start out with a subject, and you may not end up with that subject.

 

MM: And you write everything down, right, because these things can float away.

 

DF: I had a big pad of paper, 14” x 17” bond paper; I’d make little notes and sketches and see where they’d lead me. Once, when I was giving a talk I said the important thing of thinking of ideas is knowing when to pounce. You kick ideas around in your subconscious and then this one is a straggler and you pounce on it because it seems funny.  And that’s the one you draw up. I drew up a lot of rejections too of course [laughing].

 

Geraghty used to tell new cartoonists—and some of the established ones as well—about how he’d be at a party and someone would tell him a funny story and then say, “Why don’t you make a cartoon out of it?”  He’d turn to them and say, “That’s not a cartoon, that’s a short story.” There’s a hell of a big difference.  You know, they’ll start by saying, “There’re ten thousand people in a living room…” Well, who the hell is going to draw ten thousand people in a living room!?

 

MM: One of the things that fascinated me about Arno’s life was that his career spanned enough time at the magazine, 1925 through 1968 to see a change in the use of ideamen. He began using his own ideas but then shifted into using ideamen in the 1930s and beyond.  Many of his contemporaries used ideamen as well (not all of them did, but a majority). By the time your era came along, late 1940s, early 1950s, your crowd, or most of you, were doing your own ideas. That just sort of happened? Or did someone encourage you?

 

DF: Yeah, it just sort of happened, but it’s also something I think subconsciously that Geraghty was striving for. He probably thought it was taking too much time or thought or energy putting cartoonists together with ideas. If you could do it in one step, that was helpful…it became a real badge of courage to do your own ideas, your own drawings.

 

DF: One person who did his own ideas—I don’t know if you remember him, was Herbert Goldberg.

 

MM: I know his work from the albums, The New Yorker anniversary albums. I’m a sucker for those collections.

 

DF: You live in the world of cartoons.

 

MM: Yes.

 

DF: Well that’s one thing I’ve never have done and I’ve always been sorry for it. I’m not really a cartoonist.  I’m a misplaced baseball player or something like that. But I look at [cartoonist] Orlando Busino and I’m just so envious of people who can get into that. When I drew I was in the world, but I wasn’t really there. I wish I could’ve appreciated who I was.

 

MM: Do you still take a crack at cartoons every once in awhile?

 

DF: For a time, when I thought of a good idea that I thought would go in today’s New Yorker, I stifled it. And then I said to myself: well don’t do that anymore, write ‘em down—so I write them down on a scrap of paper and throw them into a pile.

 

 

Dana Fradon’s books include:

Breaking the Laugh Barrier (Dell, 1961)

My Son the Medicine Man (Avon, 1964)

Insincerely Yours (Dutton, 1978)

Sir Dana: A Knight, As Told by His Trusty Armor (Dutton, 1988)

Harold the Herald (Dutton, 1990)

The King’s Fool: A Book About Medieval and Renaissance Fools (Dutton, 1993)

To see some of Dana Fradon’s New Yorker work, link here to the New Yorker’s Cartoon Bank.

 

 

New Yorker Blog Post of Interest; Rea Irvin Virgin Island Illustrations; 3 Days to go for Gahan Wilson Documentary Film Kickstarter Campaign; Shannon Wheeler and The Quarterly Vol. V

Novak

 

 

 

 

 

 

 

 

 

 

 

 

 

 

From newyorker.com, August 7, 2013, “Performance Enhancement in Baseball” — an illustrated  post by Jason Novak and Mike Duncan. (Above: one of Mr. Novak’s drawings from the piece).

 

and…

 

Irvin cropped

Another interesting post from Attempted Bloggery, August 9, 2013,

“Rea Irvin: Vacationtime in the Virgin Islands”

— a look at a couple of recently auctioned Rea Irvin illustrations from the February 1954 Woman’s Day.

 

 

 

 

 

 

 

 

And…

 

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With just 3 days left, there’s no time like the present to kick in some dough to help fund the Kickstarter campaign for Steven Charles Jaffee’s documentary film, Gahan Wilson: Born Dead, Still Weird.

 

 

 

 

 

 

And…

 

Here’s a very short interview with Shannon Wheeler regarding his work in The Quarterly Volume V.