More from the 1969 tome Great Cartoons of the World, Volume 3, edited by John Bailey. As the introduction tell us:
Just as the easel-painter directs the eye with the use of color, so the cartoonist directs the eye with the use of line. In a painting of a landscape, the blues recede into the distance, the trees are a coolly green, and suddenly Corot puts a spot of red on a figure—a farmhand's shirt, or a woman's skirt—directing the eye to a center of interest. The cartoonist achieves the same result with a spot of black—a black necktie on the person speaking, for instance—and the lines lead you subtly to the thing he would like you to see second, just as Corot used drooping tree lids to guide your eye down to a figure. Roualt put heavy lines around the main feature of his paintings to compel the eye,and cartoonists do the same thing...
Donald Reilly for The New Yorker
Stanislav Holý for Dikobraz
Charles Saxon for The New Yorker. Again, per the book:
Saxon […] represents the true, and perhaps final, flowering of American cartooning, which with them ha been raised to a very high level. Saxon has done for his generation what Criukshank and Hogarth did for theirs. […] In particular he has concentrated on the crowd that travels, eats well, drinks well, says certain things, and does certain things. He understands how the modern body moves in its clothes, and eats, drinks, and stands. He reports all this in great style and mastery of form, not literally, but with subtle caricature, and without Daumier's anger.
Robert Weber for The New Yorker.
Whitney Darrow, Jr. for, you guessed it, The New Yorker.
Donald Reilly for The Saturday Evening Post. Thought I was gonna say The New Yorker, didn't you?
Robert Day for The New Yorker.
Syd Hoff for Look.
These next two are by Leslie Starke for Punch
William Steig in The New Yorker
More from this book next Saturday.
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