Saturday, December 30, 2006


There is obviously no such thing as the single greatest drawing in the history of the world. It would be foolish to think about rating art that way.

However, if there was such a drawing... would probably be this one by Michelangelo. It is a preparatory drawing for Michelangelo's illustrations of the Bible for the Sistine Chapel.

I can't think of any object with more grace or beauty with which to end 2006.

This drawing is of the Libyan Sibyl who foretold "the coming of the day when that which is hidden shall be revealed." She had the power of prophecy because she was by birth half mortal and half divine: "An immortal nymph was my mother, my father an eater of corn."

I am just a lowly corn eater myself but I have enjoyed sharing these lovely images with you in 2006 and I wish all of you the happiest of new years.

Monday, December 25, 2006


One item that made all the press in 2006 was the story of the counterfeit Norman Rockwell.

The Norman Rockwell Museum was embarrassed to discover that a painting they displayed as a masterful Rockwell was forged by a local cartoonist, Don Trachte.

According to the New York Times, Trachte purchased the original painting from Rockwell in 1960 but secretly painted a duplicate when he feared his estranged wife was going to take his beloved Rockwell in a bitter custody battle. Trachte hid the original behind a secret panel in his home and hung the fake in plain sight. Only after Trachte died did his family discover the genuine painting, which they promptly sold for $15.4 million.

There are lots of potential lessons from this episode. Some pundits had great fun taunting the "experts" who could not distinguish betweeen a Trachte and a Rockwell. Some were impressed by the skill of the unknown Trachte. Some focused on the detective work in uncovering the original, while others focused on the economics of the sale.

For me, the interesting part was Trachte's motivation. For 50 years, Trachte drew the dreary comic strip Henry-- a simple minded strip whose success was based on the fact that it took less effort to read than to skip over.

Year in, year out, Trachte was content to churn out these mediocre drawings. He was apparently never inspired by a beautiful sunset to find some higher purpose for his talent. He could not find sufficient motivation in money, pride, artistic integrity, or even sheer boredom to put aside the comic strip he inherited from its creator in 1948. But when it came to thwarting his ex-wife, the man found the inspiration to become another Norman Rockwell.

Many sublime works of art were inspired by petty rivalries, lusts and revenge rather than the glory of mankind. As a general rule, those who need to believe in the grandeur of the creative process would do well not to inquire too deeply into the source of artistic inspiration.

Sunday, December 24, 2006


I generally sympathize with Matisse's view that artists should cut their tongues out so they won't be tempted to explain their work. It may not show, but I do try on this blog to avoid adding to the sum total of BS written about art in the world.

Here are some comments about the artistic process from illustrators or other artists that I think are particularly insightful:

Don't stop to admire a partly completed sketch.
--Robert Fawcett

On always doing your best work: The argument that "it won't be appreciated anyway" may be true, but in the end this attitude does infinitely more harm to the artist than to his client.
--Robert Fawcett

On being accused of making art like a madman: There is only one difference between a madman and me. I'm not mad
--Salvador Dali

What one has most to strive for is to do the work with a great amount of labor and study in such a way that it may appear, however much it was labored, to have been done almost quickly and almost without any labor, and very easily, although it was not.

I ain't yet worked out whether I like girls because I like curvy lines or if I like curvy lines because I like girls.
-- some artist on the internet whose name I forgot to write down

On when to put the finishing touches on an illustration: The longer the idea can be considered in the abstract, the better.
--Robert Fawcett

There are moments when art attains almost to the dignity of manual labor.
-- Oscar Wilde

Tuesday, December 19, 2006


100 years ago, women were thrilled by Redbook magazine's romantic stories about dark and mysterious men, exotic perils from the orient, women in danger, sublimated passions and heaving bosoms. The stories were illustrated by marvelous pictures like these.

Often the heroine watched as powerful men struggled over her virtue, or were reduced to helpless tears by their love for her.

The pictures, like the stories, were often shrouded in fog which left room for the reader's imagination to fill in the details. I love these art noir drawings by Gayle Hoskins, Frank Street, E. Ward and Leone Bracker.

Today, Redbook has replaced illustrations with bright, clear photographs. The articles are in sharper focus as well. There's no ambiguity in titles like 35 Sexy Places to Touch Your Man, or Get In The Mood in 5 Minutes. Recently, Redbook provided instructions for sex in an airplane bathroom the way GM might describe maintenance on an internal combustion engine ("For maximum maneuverability, stand with one leg on the toilet with your man embracing you from behind.") Despite the new candor, Redbook's modern readers don't seem any closer to meaningful truths than their great grandmothers were 100 years ago.

I'm not sure whether it's better to have a sharp picture of a fuzzy concept or a fuzzy picture of a sharp concept. Choose your fog.

Friday, December 15, 2006


The brilliant illustrator Bernie Fuchs is famous for his sleek, ultra-cool pictures that transformed the face of illustration in the 1950s - 1970s. The following details from an original illustration demonstrate one of his traits that I admire the most-- his ability to combine bold, innovative designs with rock solid traditional drawing skills.

The following detail is of Fuchs' close friend Austin Briggs, reflected in the window of an old car.

Nobody is born with this kind of facility, not even the great Bernie Fuchs. The proof is in Fuchs' childhood drawings which were carefully kept by his high school sweetheart-- now his wife.

Fuchs was seven years old when the movie The Wizard of Oz came out. It obviously made a big impression on him.

I like these childhood drawings, but at some point Fuchs went from drawing like lots of other kids to becoming the superstar illustrator of his generation. As Walt Reed wrote, "his pictures are probably more admired-- and more imitated-- than those of any other current illustrator." Fuchs is very modest about his accomplishments, but he is not afraid to talk about the importance of commitment in a young artist:

I was working in my grandfather's basement at night. I had set up a table there to do my art assignments. It was hard for me. I'll never forget throwing the paint,the brushes, the drawing board and everything across the basement floor and against the wall and crying-- literally. Finally I pulled myself back together, picked up the stuff and started over again.

And thus, a star was born.

Saturday, December 9, 2006


This illustration by Maxfield Parrish recently sold for $7.6 million, making somebody very wealthy. Parrish could've used some of that money toward the end of his career, when he fell out of favor with the public.

After Parrish died, two rival art dealers entered into a bitter tug of war over his artwork. The battle raged in angry lawsuits from coast to coast. (cf Cutler v. Gilbert) Each dealer claimed to be protecting the Parrish legacy as charges of fraud, counterfeiting, slander, libel and profiteering flew back and forth. Among the accusations traded in the Boston Globe:

One of the dealers was a "convicted swindler" who pleaded guilty to a felony.

One of the dealers was selling fake Parrishes to unsuspecting buyers

One of the dealers was reproducing Parrish's art without permission

One of the dealers defrauded a store owner by charging $10,000 for the right to call her store the "Parrish Connection" and use the artist's signature as its logo.

One of the dealers was trying to create a monopoly to control Parrish reproductions out of pure greed.

One of the dealers burned down Maxfield Parrish's house

Sometimes being a shrewd art dealer pays better than being a talented artist. One of these fine ladies lives in a mansion modeled partially after the palace at Versailles. The other ran several corporations (sometimes going under the pseudonym "La Contessa De La Gala"). Both were moved by the beauty of Parrish's art to fight over his copyrights like two scorpions in a bottle. Meanwhile Parrish slumbered peacefully beneath the soil.

It's hardly news that illustrators are commercially exploited. Art that never found its way back to the artist from the printer today sells for hundreds of thousands of dollars. A Rockwell just sold for $15.4 million. An N.C. Wyeth sold for $2 million.

Meanwhile, young illustrators face new kinds of adversity, as they struggle with clients who demand work "for spec," or find themselves competing with ready made stockhouse images. It's a difficult career. As Dan Pelavin wrote:

Illustration as a career is most successfully pursued by those to whom no other option is acceptable. It takes that kind of motivation to overcome the inevitable and constant stream of obstacles. Some frankness about the nature of the illustration market and the people an illustrator will have to work for would go a long way in discouraging all but the most foolhardy and desperate from pursuing this glamorous and enviable career.

So what's in it for the artist? What consolation can he or she take from this historically unfair process? I'm not sure, but I suspect the deal is that artists get to look out of their eyes onto a world like this:

Perceiving the world the way an artist does may not help much when it comes to buying a house that looks like Versailles or even feeding your family, but it is not totally without its rewards. As Erica Jong wrote:
In a society in which everything is for sale, in which deals and auctions make the biggest news, doing it for love is the only remaining liberty. Do it for love and you cannot be censored. Do it for love and you cannot be stopped. Do it for love and the rich will envy no one more than you. In a world of tuxedos, the naked man is king. In a world of bookkeepers with spreadsheets, the one who gives it away without counting the cost is God.

Saturday, December 2, 2006


The illustrator Fred Ludekens said "drawing is thinking." Here are some wonderful examples of what makes visual thinking better than verbal thinking:

copyright The New Yorker

Images can convey complex thoughts with more immediacy, universality and ambiguity than words can offer.

For example, William Steig's drawing above of the blissful young lovers in the cottage makes a wicked statement about the darker, proprietary side of bliss by chaining the flower in the front yard:

As another example, the Foote Cone & Belding drawing below shows that creativity and logic are two sides of the same phenomenon by placing them on opposite sides of a moebius strip-- which only has one side.

copyright Foote, Cone & Belding

Next, the symbols chosen by the brilliant Saul Steinberg-- Uncle Sam facing off against a fatted Thanksgiving turkey in the bull ring, presided over by the statue of liberty and Santa Claus-- juxtapose categories rich with meaning in ways that words with definitions just can't.

copyright The Saul Steinberg Foundation/Artists Rights Society (ARS), NY

How many sentences would it take to explain such thoughts in words? Good visual ideas dance where words cannot go. More importantly, how many related ideas would you miss along the way if you were led to a conclusion by linear sentences, rather than by rolling these images around in your mind?

Some sequential artists and graphic novelists seem to think that intelligent drawings are merely drawings accompanied by word balloons containing intelligent words. For me, this view surrenders the real strength and potency of the visual medium.

Sunday, November 26, 2006


The illustrator Rockwell Kent (1882 - 1971) loved humanity with great passion. Unfortunately, he was an utter jerk when it came to loving individual human beings.

Kent was famous for his illustrations for Moby Dick, Candide, Shakespeare and Chaucer. He was also the author of several acclaimed books, an explorer, an architect, a dairy farmer, a carpenter, a fisherman, a sailor and an outspoken advocate of socialism who was awarded the Lenin Peace Prize by the Soviet Union for his work to achieve peace and brotherhood.

Kent had many wild adventures around the world. He hiked through jungles and over mountains. He explored islands and traveled on freighter ships. Once he attempted to sail around Cape Horn (at the southern tip of South America) in a ramshackle life boat that he bought for a few dollars. Wrote one commentator:

This region, boasting probably the world's worst climate, is buffeted incessantly by winds, swiftly alternating with rain, hail and snow. It is the legendary graveyard of ships and sailors, and Kent [had] the half-formed idea of trying his mettle against the hazardous adventure of sailing "round the Horn."
He was shipwrecked in Greenland and Alaska and lived for extended periods of time north of the Arctic Circle in desolate places like Ubekendt Ejland (Unknown Island). But his first love was painting and he painted almost every day.

Kent's artistic mentor was the painter Abbott Thayer. While living as a guest in Thayer's house, Kent married Thayer's 17 year old niece over the objection of her family. Four months after the wedding, he resumed a love affair with an old flame. Kent went on to have torrid affairs with a variety of girlfriends while his devoted wife stayed at home and bore him five children. (When one of his girlfriends became pregnant, Kent and his wife had to sell everything they owned to pay her off.) When his fifth child was born, Kent decided that his wife's clinging ways were unbearable, so the couple divorced. Kent learned from this experience and made sure all of his future children were illegitimate. Kent's second wife, Frances, may have hoped Kent was willing to settle down because he built a dream house with her out in the country and named it "Asgaard" after the Norse home of the gods. But at the housewarming party that Kent and Frances held for their friends, Kent overheard someone planning a dangerous boat expedition to Greenland and immediately abandoned Frances and Asgaard for this new adventure. Kent did marry a third time, to a woman the age of his youngest daughter.

Kent courted these women using artwork and poetry, and he praised their beauty with great eloquence. He always felt bad (and a little surprised) when they took the news of his infidelity so hard. One former showgirl committed suicide, jumping to her death into the sea. Perhaps it would have been difficult for a wife to accompany Kent on his rugged travels. Kent recounted one particularly horrifying shipwreck in his autobiography, It's Me O Lord:

Against the hurricane that woke us, sweeping down off the lofty plateau of the inland ice... we could do nothing but... hang onto our anchor ropes. And once the anchors failed to hold, the game was up.
Kent's tiny boat capsized. He and his two companions dragged themselves to shore and trekked 36 hours over rugged terrain with no shelter before they stumbled across an Inuit fisherman. None of them spoke Inuit, yet Kent managed to negotiate food, shelter and a young Inuit native girl.

Even though Kent had no space for a wife on his journeys, he always managed to find room for his paints, brushes and canvases. Following the shipwreck mentioned above, Kent returned to salvage his art supplies and spent two months painting that "vast wonderland of sea and mountain."

I have long been fascinated by the selfishness of artists. Some artists place the demands of their art above the welfare of their family and friends. Sometimes the resulting art is so beautiful, the trade off seems worth it to those of us who aren't personally affected. But it is always difficult to draw a bright line between artists who make sacrifices to protect their art and those who are merely self centered. Through the generations, a lot of collateral damage has been caused by artists fighting for their artistic lives.

Kent lived to be 89. Despite all his advetures, he seemed to have had a wistful old age. In one of his books, he described a poem-song he had learned from the Eskimoes about an old man who remembers

old times when I had strength to cut and flay great beasts.

Three great beasts could I cut up while the sun slowly went his way across the sky.

A sick old man could no longer hope to hang onto a woman, so he wishes his

woman away in the house of another,

in the house of a man who may be her refuge, firm and sure as the strong winter ice.

Sad at heart, I wish her away in the house of a stronger protector now that I myself lack strength even to rise from where I lie.