Cartoon themes: dogs

Action, October 1953

Adam, May 1973

Hello Buddies, October 1951

Gahan Wilson
For Laughing Out Loud, December 1964

Harry Mace
For Laughing Out Loud, March 1960

Jeff Keate
Fun House, February 1979

Good Humor, October 1964

Jem, January 1962

Man, April 1966

Mike Twohy
Punch April 1984

Unknown

Ton Smits
Playboy, January 1968

Cartoon themes: artists

Ton Smits
Playboy, February 1955

John Dempsey
For Laughing Out Loud, December 1964

For Laughing Out Loud, December 1964

Good Humor,October 1964

Man's Adventure, May 1957

Jem, March 1965

Michael Ffolkes
Playboy, December 1967

Playboy, December 1969

Edmond Kiraz
Playboy Spain, May 1982

The Dude, November 1956

The Dude, January 1957

Alden Erikson
Playboy, January 1968

Vic Martin
Wildcat, May 1968

Playboy humor things from the 50s

As I've been going through all these issues of Playboy in chronological order, I've found some good stuff in the comics department. Here's even more

Claude Smith
February 1958

Ton Smits
May 1958

Jules Feiffer
August 1958

In the late fifties, everybody was talking about the possibility of putting subliminal messages in ads, there were even books about it. Some of it is true to this day, some was just rumor. Here's a piece Jack Cole did about it for the September 1958 issue.

More by Jules Feiffer
also September 1958

Phil Interlandi
October 1958

Another strip by Feiffer, also the October 1958 issue.

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.