Leonid Soyfertis (1911-1996), 1938 Mon père sur le front, 1940 1941 Marins, 1941 Sur le banc L’enfant prodige Faire connaissance Au bain merci Marc Daniau de m’avoir signalé ce lien : https://www.facebook.com/profile.php?id=100001709022803&sk=photos&collection_token=100001709022803%3A2305272732%3A69&set=a.1061615500572074.1073741850.100001709022803&type=3&pnref=story n°501
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I have a lot of friends who do not read comics regularly, and of course I just buy them comics the first chance I get. I don’t think you need to be “into
La virtuosité sans esbroufe d’un grand dessinateur ukrainien.
When I started this blog, my plan was to publicize my favorite works by great illustrators of the past. I had a long list, starting with illustrators such as Leyendecker, Rockwell and Cornwell-- and figured I would soon get to the talented Saul Tepper. Then 12 years went by. I fear that many people share my mistake of treating Tepper as an afterthought: he's an important artist that we'll get to eventually. One reason may be that people rarely see high rez images of his rich, dramatic paintings. Whatever the reason, he deserves better. Tepper (1899-1987) was one of the last great "painterly" illustrators who worked in oils on canvas to achieve a thick, buttery effect. The following lovely example is from the Kelly Collection of American Illustration: The variegated textures and rich colors of Tepper's originals rarely showed up in the final published versions: By the latter part of Tepper's career, illustration had moved on to smaller, faster, water based paintings on cardboard that were better suited to the demands and timetable of modern publishers. By the 1950s he was working for second tier magazines such as Argosy and True. He found work as a photographer, teacher and musical composer. But before he migrated away from illustration, Tepper spent a solid 30 years painting in the classical style, creating remarkable paintings that are worthy of our attention.
Иллюстратор Пётр Наумович ПИНКИСЕВИЧ Родился 8 июня 1925 года в г. Бодайбо Иркутской области, умер в 2004 году в Москве. График, живописец, член Союза художников СССР, народный художник РСФСР (1985). В 1943 окончил среднюю художественную школу при Всероссийской академии художеств в Ленинграде.…
Explore Alex Knowlton's 4858 photos on Flickr!
We're always hearing that artists require freedom to express their opinions. Artists need freedom to express political opinions, or to show explicit content. Artistic opinions might offer a social conscience, or point out ironies in our culture. The outrageous perspectives of underground cartoonists unsettle the status quo. This focus on the artist's opinions is why advertising art is held in such low regard: the corporate advertiser, not the artist, controls the content. But making art involves all kinds of opinions, not just opinions about content. It involves opinions about how to describe form, opinions about abstraction, opinions about design. Visual opinions such as these are equally present in advertising art and museum art. Here is an advertisement drawing by Austin Briggs with a real point of view: It has no political or social content but man, what an opinion! To me, it makes much of today's "social commentary" art look spineless. Here is a series of drawings by Briggs for newspaper ads in the 1950s. The social commentary is nonexistent but look at his powerful choices and robust lines describing form: Briggs had opinions about where to apply emphasis. He had opinions on how to convey vitality. He had opinions on how to depict folds in heavy cloth: I like Briggs' opinion on how to abstract a little girl's dress: Here is a sample of one of Briggs' original sketches for this series of ads so you can see how he worked: We've come to believe, for reasons that escape me, that an artist's political and social opinions are more significant than their visual opinions. Starting at least as early as the pop artists, unremarkable ads, labels or comic books were transformed by artists such as Warhol and Lichtenstein into fine art. The physical image might be almost identical, but what mattered was the artist's commentary on mass media, commercial printing and the ironies of modern culture. I agree that in some cases, this type of commentary can be a higher form of art than the visual choices in a good drawing. But I've also listened patiently to lectures by artists such as Jeff Koons, Damien Hirst and Tracey Emin in which they discuss the opinions underlying their art. They may be eloquent, but I often find their social commentary simple minded and their politics juvenile. When I decide where to spend my time, I weigh those social opinions against the opinions about form manifest in really good drawing. Often, I find that plain good drawing-- even with no ironic content-- is more enriching. Of course, that's just an opinion.
A few words of wisdom for you who are adventuresome enough to enter the field of illustration from the late, great Austin Briggs's How I Make A Picture. In many ways, making an illustration is a much more complex and demanding job than making a painting which is expected to have a purely aesthetic value. The aesthetic painter can choose a surface of any size, shape, or material that appeals to him, and work in any medium that he feels will best express his idea. The extent to which he follows the subject he has chosen as a point of departure is again a matter of personal choice. If he likes, he can indulge in a variety of technical tricks which are useful and interesting in a wall painting, but which would probably harm, rather than help, a painting done for purposes of reproduction. In short, the aesthetic painter concerns himself entirely with his own personal problems, without any consideration or restriction which is not of his own choosing. The illustrator, on the other hand, must combine the knowledge and talents of a dramatist, stage designer, costume designer, director, stage manager, lighting expert, photographer, research man, advertising man, art director, salesman, diplomat, accountant - and painter! Every illustration he makes involves all these varied skills and talent. Unless he is accomplished in these fields, his technical abilities as an artist will be of little financial value to him. It is true that what he finally sells is a painting or a drawing - but the actual art work is only the final culmination of many different kinds of activities which are completely foreign to the purely aesthetic painter. The illustrator must be a dramatist in order to sense which situation will have the most dramatic appeal for the widest number of people, and in order to present these situations with the greatest force and conviction. He must be a stage designer to create a setting for his characters which will underscore their personalities, create the proper mood, strengthen the action portrayed. As a costume designer he is responsible for every detail of dress, make-up, grooming, etc. In dealing with contemporary characters he must even "guess ahead" of current styles, so that his women will be dressed in the style of the moment when his picture appears in the magazines, months after it was painted. Once he has settled on the scene and action he is to illustrate, created the setting, designed the costume, and assembled the props, he must serve as a director who can cast the roles involved and then direct the action so that it will be the most natural and convincing. As stage manager, he must see that all these different elements are related and assembled together at just the right time. He must be a lighting expert to make sure that he will have exactly the effect the drama involved requires. Whether the mood of the scene demands completely flat lighting without any visible source, or start contrasts of dark and light, or any variation of these - he must be certain that he has complete control of this highly important factor. Still further removed from his job as a painter are the variety of other skills mentioned. He must be a photographic expert, to record the scene he has created. he must be a research man, so that he will know how to check the authenticity of every detail he includes in the picture. He must have a good understanding of advertising and be a practical psychologist, so that he will know what will make people who see his pictures react as he wishes them to, and so that he can understand why the representatives of magazines and agencies insist on things which seem picayune or highly annoying to the aesthetic artist. Furthernmore, he must have a good insight into the problems of the art director. His painting, after, all, will be considered not by itself as work of art, but as it will appear in relation to the design of the magazine or page, the copy blocks associated with the it, the headlines and caption which will accompany it. In addition it must be carefully planned to meet the rigid technical requirements of the process by which it will be reproduced. For after all, the illustrator is not working on a painting which will be seen as he made it. His illustration will be seen - and have value - only in its reproduced form. If his painting reproduces badly, it is a bad illustration from that important point of view, no matter what its other good qualities may be. Unless and until the illustrator is able to hire a representative, he must also serve as his own salesman, diplomat, and accountant. he must be able to make contacts with art directors and convince them that he can do the job they want done. Although his paintings will do most of his selling for him, such intangible factors as personality and appearance will certainly help or hinder his cause. Inevitably problems and differences of opinion will arise. If he has some ability as a diplomat, he will be able to explain his own point of view pleasantly and convincingly. If and when he does complete an assignment, he must make sure that he is properly paid for his work, and that the the government, local, state and national- receives its proper cut of the proceeds. This can be a career in itself. And in addition to all these other things, he must also be an artist. Austin Briggs Next time, more Mad Mummy artwork from the current issue.
Have ya'll seen these Austin Briggs' drawings he did for TV Guide. They're incredible! Pt. 1
Explore Alex Knowlton's 4858 photos on Flickr!
dai dun bang is a well-known Chinese illustrator, love his work!
