The first three here were by John Glashan.
2 hours ago
Showing posts with label JOHN GLASHAN. Show all posts
Showing posts with label JOHN GLASHAN. Show all posts
Saturday, March 1, 2014
Great Cartoons of the World Series 7, part 9
More from Great Cartoons of the World, Series 7. There are probably links to previous ones at the bottom of this post in the LinkWithin boxes.
The first three here were by John Glashan.
Michael Ffolkes
Miroslav Barták for Dikobraz
Jules Stauber doing a motif Virgil Partch was most famous for.
Mischa Richter for the New Yorker
Frank Modell also for The New Yorker.
Lee Lorenz for the New Yorker.
Edward Koren, now Vermont's cartoonist laureate for... see if you can guess.
Terrence “Larry” Parkes in a series of gags for Punch
The first three here were by John Glashan.
Saturday, February 22, 2014
Great Cartoons of the World VII, part 8
These are more excerpts from the seventh annual volume of Great Cartoons of the World from 1973.
The first cartoon by William Steig was in the New Yorker.
In the foreword, editor John Bailey describes what the contributors look like (previous examples can be seen in previous installments):
Steig is a true intellectual in the physical form of a dockworker. He is mainly surprising—he looks tough, but he is gentle and civilized. He never speaks without expressing his sense of humor, most often with some detectable ironic twist. Nothing about the artist's following of the artist being an avid follower of orgone therapy. On the other hand, there are and were several cartoonists that believed in all sorts of medical, religious, and political quackery but it usually doesn't spill into their work.
Vahan Shirvanian, also in the New Yorker.
Mischa Richter
Bruce Petty
Vladimir Renčin in Dikobraz
James Stevenson
Charles Elmer Martin
Edward Koren
Hans Moser
Whitney Darrow, Jr.
The final two were drawn by John Glashan.
The first cartoon by William Steig was in the New Yorker.
In the foreword, editor John Bailey describes what the contributors look like (previous examples can be seen in previous installments):
Steig is a true intellectual in the physical form of a dockworker. He is mainly surprising—he looks tough, but he is gentle and civilized. He never speaks without expressing his sense of humor, most often with some detectable ironic twist. Nothing about the artist's following of the artist being an avid follower of orgone therapy. On the other hand, there are and were several cartoonists that believed in all sorts of medical, religious, and political quackery but it usually doesn't spill into their work.
Saturday, January 25, 2014
Great Cartoons of the World Series Seven, part 4
In which I post the fourth part of the book Great Cartoons of the World, Series 7 from 1972.
Editor John Bailey, writing about the cartoonists are really like, continues with doublespeak in his introduction from last week, fulfilling his obligation to fill a few pages:
One would assume from Rouault's rich, luscious pigment that he was a big extrovert, but he was tiny and monklike. From his expressions of evil on the motion-picture screen, one would expect to be seized and strapped to a table by Boris Karloff, but he was a mind, kind, gentle, and wonderful person.
On the other hand, sometimes the talent and the person are identical, as is the case of Caruso. Leonardo was a logical genius, and the delicacy, the aristocratic expression of his thought, and the feeling of elegance in his work were all to be found in his person, if we can trust the remark of a friend who described him as being “as beautiful as an angel”.
Picasso was the full embodiment of his work. He was the bull. Hemingway personified what he wanted to be. No matter how hidden it is in the work, the subconscious is being expressed. Sometimes the relation is uncomplicated and “what you sees is what you gets.” Sometimes both the man and his work are as many-layered as Nabokov.
Ton Smits
A lot more John Glashan for those who didn't get enough last week.
William O'Brian
Mischa Richter in the New Yorker. The editor writes of him in the introduction:
I am certain that the picture formed in the public mind of Richter is that of a tall, swarthy, sinister figure, such as might be lurking around an embassy. He is not big, but when he talks one feels his strength.He has a strong mind, strong opinions, and a skeptical eye on the world, all reflected in the vigor of his line.
Guillermo Mordillo
Chon Day
Adolf Born
And we end as we began, with Ton Smits.
Editor John Bailey, writing about the cartoonists are really like, continues with doublespeak in his introduction from last week, fulfilling his obligation to fill a few pages:
One would assume from Rouault's rich, luscious pigment that he was a big extrovert, but he was tiny and monklike. From his expressions of evil on the motion-picture screen, one would expect to be seized and strapped to a table by Boris Karloff, but he was a mind, kind, gentle, and wonderful person.
On the other hand, sometimes the talent and the person are identical, as is the case of Caruso. Leonardo was a logical genius, and the delicacy, the aristocratic expression of his thought, and the feeling of elegance in his work were all to be found in his person, if we can trust the remark of a friend who described him as being “as beautiful as an angel”.
Picasso was the full embodiment of his work. He was the bull. Hemingway personified what he wanted to be. No matter how hidden it is in the work, the subconscious is being expressed. Sometimes the relation is uncomplicated and “what you sees is what you gets.” Sometimes both the man and his work are as many-layered as Nabokov.
Ton Smits
I am certain that the picture formed in the public mind of Richter is that of a tall, swarthy, sinister figure, such as might be lurking around an embassy. He is not big, but when he talks one feels his strength.He has a strong mind, strong opinions, and a skeptical eye on the world, all reflected in the vigor of his line.
Saturday, January 18, 2014
Great Cartoons of the World VII, part 3
Now more as I continue to go through the 1972 book Great Cartoons of the World, Series 7...
But first, here's some of what editor John Bailey says in the foreword:
Whenever there was a new showing of Picasso's work, Saidenberg, who was Picasso's agent, was pestered by gallery-goers who wanted to know what Picasso was really like. There is a great curiosity about anything created. “Who did it?” people say. “What is he like?” Then: “What is he really like?”*
Everyone is aware that a trembly milquetoast of a tiny little man not infrequently produces frighteningly sadistic and overpowering work, and that a brute with low instincts sometimes creates a lovely, ethereal work of art. There are no rules, and often there is an apparent contradiction.
The title of these cartoons by based on the theme of books from John Glashan is a play on the novelty song ”La Plume De Ma Tante”.
And this is by Jean-Jacques Sempé
Hans Moser
William Steig for New Yorker
Edward Koren, also for The New Yorker. The editor writes of him in the foreword:
On seeing Koren's extraordinary animal drawings, one could be excused for imagining them to have been done by a very elderly gentleman with the palsy, sitting in a cold-water flat somewhere, surrounded by strange boxes of strange stuff, from hundreds of years ago. But one meets a stylish, contemporary figure.
*I'd also add to the FAQs: “Were you on drugs when you did that?”
But first, here's some of what editor John Bailey says in the foreword:
Whenever there was a new showing of Picasso's work, Saidenberg, who was Picasso's agent, was pestered by gallery-goers who wanted to know what Picasso was really like. There is a great curiosity about anything created. “Who did it?” people say. “What is he like?” Then: “What is he really like?”*
Everyone is aware that a trembly milquetoast of a tiny little man not infrequently produces frighteningly sadistic and overpowering work, and that a brute with low instincts sometimes creates a lovely, ethereal work of art. There are no rules, and often there is an apparent contradiction.
The title of these cartoons by based on the theme of books from John Glashan is a play on the novelty song ”La Plume De Ma Tante”.
On seeing Koren's extraordinary animal drawings, one could be excused for imagining them to have been done by a very elderly gentleman with the palsy, sitting in a cold-water flat somewhere, surrounded by strange boxes of strange stuff, from hundreds of years ago. But one meets a stylish, contemporary figure.
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