Archive for illustration

James Montgomery Flagg: Lived Up To His Name

Posted in AMERICANA, Silent Film, VISUAL ART with tags , , , , , , , , , , , on June 18, 2017 by travsd

Illustrator James Montgomery Flagg (1877-1960) was born on June 18. Flagg’s best known work (above) is especially timely — the Uncle Sam/ “I Want You” poster was created one century ago as part of the World War One recruitment drive. It’s so well known and so frequently parodied I used it as the inspiration for a publicity still around the time I was launching my American Vaudeville Theatre around 20 years ago.

Photo by Joseph Silva

Flagg designed a slue of patriotic pictures during the Great War. I liked his rendering of Columbia encouraging Victory Gardens so much I acquired the fridge magnet version:

My wife (herself an illustrator) and myself took in many of his works during our recent pilgrimage to the National Museum of American Illustration in Newport. RI. 

There are other good connections to this blog. For example, from 1903 through 1907, Flagg drew the comic strip Nervy Nat for Judge magazine. Nervy Nat is a tramp character of the sort that was popular at the time, and paved the way in some sense sense for Chaplin’s screen character a decade later

There is a 1904 comedy short called Nervy Nat Kisses the Bride produced by Edison, directed by Edwin S. Porter, and starring Arthur Byron and Evelyn Nesbit, which is clearly inspired by the strip. It is available to watch on Youtube.

Flagg is buried at Woodlawn Cemetery in the Bronx. I have visited his marker! (I am not obsessed or anything. I was visiting ALL the stars. Have more to go, too).

Flagg was a prodigy. Originally from Pelham Manor, New York, he was already publishing magazine illustrations by age 12. He attended the Art Students League from 1894 through 1898, after which he studied for a couple of years in London and Paris before returning the the States to pursue his professional career. At one point he was the highest paid illustrator in America. One of his favorite models was Mabel Normand! He also painted portraits of prominent people like Ethyl Barrymore and Mark Twain.

Howard Pyle: Boys, Battles, Buccaneers

Posted in VISUAL ART with tags , , , on March 5, 2017 by travsd

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Today is the birthday of the influential illustrator Howard Pyle (1853-1911).

A mutual love of illustration was one of the first things that brought my wife and I together — our second date (our first official one) was a lecture on Charles Addams. Naturally she, whose entire life is illustration, has a much vaster knowledge and grasp of the form. But that it’s important to me at all, you must admit, is a genuine point of overlap in this world of American men who love nothing other than football, duck hunting, and chain restaurants that serve hamburgers with pizzas for buns.

"Ar! No you must walk the plank, me hearty!"

“Ar! Now you must walk the plank, me hearty!”

Anyway, books with Pyle illustrations were important to me in my childhood, chiefly The Merry Adventures of Robin Hood (1883) and Otto of the Silver Hand (1888). Pyle was a man very much in tune with his times: his subject matter is almost all bellicose, patriotic, adventurous, imperialistic and male, mostly stuff about knights and pirates and battles. He was from a Delaware Quaker family — he seems to have rebelled not only by being an artist, but by letting his imagination roam to romantic, often violent, places. The Arthurian Legend was a major thread of his work, and he also collaborated on some books about American history with Woodrow Wilson (when he was still a professor) and Henry Cabot Lodge. His sister Katharine Pyle (1863-1938) was also an illustrator and children’s author; the pair collaborated on an 1888 book called The Wonder Clock, which had a tale for each hour of the day:

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One of the myriad pleasures of fatherhood was getting to share Otto with my boys. Otto’s hand is a silver prosthetic because an enemy of his father’s chopped it off. The world is cruel, but Otto is good because he was raised by gentle monks. I always wanted a monkish haircut as depicted in Pyle’s illustration, which was also used on the books’ cover:

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I was thrilled to see some Pyle originals at the National Museum of American Illutstration in our recent trip to Newport. Here’s one we saw on view there, from Tales of Pirates and Buccaneers:

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