Garrett Price
2 hours ago
Showing posts with label GEORGE PRICE. Show all posts
Showing posts with label GEORGE PRICE. Show all posts
Thursday, October 16, 2014
New Yorker in Readers' Digest
The October 1941 issue of Reader's Digest had an article about the New Yorker cartoons.
Garrett Price
Peter Arno
Richard Decker, Richard Taylor
George Price, Peter Arno
(bottom)Barbara Shermund
Perry Barlow
(top) Helen Hokinson
(top)Carl Rose
(top) Alan Dunn
Chon Day
Garrett Price
Thursday, July 10, 2014
Comic Art here in America
Again from the chapter from the book Comic Art in America from 1959 by Stephen Becker, part of a chapter entitled A Century of Magazines: From Corny Almanacks to The New Yorker. All cartoons from the New Yorker unless otherwise noted.
Charles Addams, 1954
William Steig, 1952
Barney Tobey, 1954
Garrett Price, 1942
George Price, 1952
Sam Cobean, 1947
Cobean, 1950
Cobean, 1949
Cobean, 1952
Cobean, 1952
As per the captions in the book:
The breadline as seen by REGINALD MARSH in 1930. This was hardly comic art; it was an extension of the magazine cartoon into the area of social comment.
Another breadline, seen a bit differently but no less effectively by ALEXANDER KING in Americana, December 1932.
Eldon Dedini, 1959
Charles Elmer Martin, 1951
Chon Day, 1953
Richard Taylor, 1941
Claude Smith, 1953
Charles Addams, 1954
The breadline as seen by REGINALD MARSH in 1930. This was hardly comic art; it was an extension of the magazine cartoon into the area of social comment.
Saturday, February 1, 2014
Great Cartoons of the World Series 7, part 5
Editor John Bailey says in the introduction to the book after describing some of the contributors to the book that he's met:
It develops some cartoonists are like their work, and some are not. The “why” is always the niggling thing of anything—the endless “why” that people love to diddle with in their heads. Why is Garbo mysterious and Sophia Loren not? Why was Paris fashionable in the nineteenth century, and a dull bore in the twentieth?
To get further, what is the reader like? The cartoonist has an immense curiosity to know. Dear reader, what are you like? I mean, what are you really like?
Boris Drucker for The New Yorker
Michael Ffolkes
George Price, also in the New Yorker. He's mentioned as one of the cartoonists in the book thusly:
George Price is like his work, but not like the people he draws,, whom he has observed carefully, and whom he deeply loves, or perhaps hates. They have become a full-blooded, consistent cast of characters through whom he conveys ideas about life. One can always count on them to say something pertinent on such subjects as Women's Lib, or ecology, which is surprising, since the whole awful crowd seem to stay in the kitchen most of the time with a monkey wrench and a can of beer. Yet Price is apparently able to express anything through them. I'm not sure if he's saying something antiquatedly sexist here, but apologize anyway.
Miroslav Barták for 
I didn't realize when I was scanning that these next two images by Tony Munzlinger are the same cartoon.
It develops some cartoonists are like their work, and some are not. The “why” is always the niggling thing of anything—the endless “why” that people love to diddle with in their heads. Why is Garbo mysterious and Sophia Loren not? Why was Paris fashionable in the nineteenth century, and a dull bore in the twentieth?
To get further, what is the reader like? The cartoonist has an immense curiosity to know. Dear reader, what are you like? I mean, what are you really like?
Boris Drucker for The New Yorker
George Price is like his work, but not like the people he draws,, whom he has observed carefully, and whom he deeply loves, or perhaps hates. They have become a full-blooded, consistent cast of characters through whom he conveys ideas about life. One can always count on them to say something pertinent on such subjects as Women's Lib, or ecology, which is surprising, since the whole awful crowd seem to stay in the kitchen most of the time with a monkey wrench and a can of beer. Yet Price is apparently able to express anything through them. I'm not sure if he's saying something antiquatedly sexist here, but apologize anyway.
Saturday, October 12, 2013
GREAT CARTOONS OF THE WORLD Series 6, part 1
I posted Volume 5 a long time ago, so I've jumped from 4 to 6. Sorry for doing things out of order (it's complicated), but for all intents and purposes it doesn't really matter what order this is in anyway. This is the sixth annual series from 1972, edited by John Bailey.
As the cover flap says of this book:
“All the wold loves a cartoon, for in the cartoon world everyone is represented—the rich and the poor, the successes and the failures, the young and the old—and everyone is equally comic and vulnerable. Once again John Bailey has collected a wealth of fun and fantasy in cartoon form by such figures as William Steig, Terence Parkes, Ton Smits, Vahan Shirvanian, Charles Addams, and scores more. Culled from the richest sources of humor, such as The New Yorker, Punch, and Paris Match, this delightful compendium reveals how universal and timeless cartoons really are.
From political satire to generation-gap quickies, Great cartoons of the World presents a microcosm of the world we all live in, allowing us to view it through the eyes of some of the sharpest and wittiest people drawing today.
As John Bailey says: 'It is a common experience to try to remember a funny cartoon, and not quite be able to remember it. Too many fine cartoons are thrown out with the fish. This book, then, is an attempt to put some of the best cartoons between hard covers, where they will be safe. I am perfectlyy sure that some of them will be valid twenty years hence.'”
Jules Stauber
George Price in The New Yorker.
Michael Ffolkes
These next three are from an endless series of gags Terrence “Larry” Parkes did for Punch of a man trying to do “woman's work”.
Frank Modell for The New Yorker again. The editor writes of this cartoon in the introduction:
“Some cartoons contain both the elements of timeliness and timelessness. Modell's upside-down stocking, 'You call that hung by the chimney with care?' shows a contemporary child within the context of timeless Christmas. It is the father who has the sense of the historic Christmas.”
Charles Elmer Martin
Norman Thelwell
Anatol Kovarsky
William Steig
Stanislav Holý
As the cover flap says of this book:
“All the wold loves a cartoon, for in the cartoon world everyone is represented—the rich and the poor, the successes and the failures, the young and the old—and everyone is equally comic and vulnerable. Once again John Bailey has collected a wealth of fun and fantasy in cartoon form by such figures as William Steig, Terence Parkes, Ton Smits, Vahan Shirvanian, Charles Addams, and scores more. Culled from the richest sources of humor, such as The New Yorker, Punch, and Paris Match, this delightful compendium reveals how universal and timeless cartoons really are.
From political satire to generation-gap quickies, Great cartoons of the World presents a microcosm of the world we all live in, allowing us to view it through the eyes of some of the sharpest and wittiest people drawing today.
As John Bailey says: 'It is a common experience to try to remember a funny cartoon, and not quite be able to remember it. Too many fine cartoons are thrown out with the fish. This book, then, is an attempt to put some of the best cartoons between hard covers, where they will be safe. I am perfectlyy sure that some of them will be valid twenty years hence.'”
“Some cartoons contain both the elements of timeliness and timelessness. Modell's upside-down stocking, 'You call that hung by the chimney with care?' shows a contemporary child within the context of timeless Christmas. It is the father who has the sense of the historic Christmas.”
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