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Published to accompany an exhibition at the Academy of Motion Picture Arts and Sciences, this book recounts Hirshfeld's career as a graphic artist, and reprints 100 plus drawings, paintings, collages, posters, billboards, and murals. Classic caricatures and behind-the scenes perspectives of major players in Hollywood are accompanied by more vibrantly colored works. Annotation copyrighted by Book News, Inc., Portland, OR
I am down to a pencil, a pen, and a bottle of ink. I hope one day to eliminate the pencil. Al Hirschfeld redefined caricature and exemplified Broadway and Hollywood, enchanting generations with his mastery of line. His art appeared in every major publication during nine decades of the twentieth and twenty-first centuries, as well as on numerous book, record, and program covers; film posters and publicity art; and on fifteen U.S. postage stamps. Now, The Hirschfeld Century brings together for the first time the artist’s extraordinary eighty-two-year career, revealed in more than 360 of his iconic black-and-white and color drawings, illustrations, and photographs—his influences, his techniques, his evolution from his earliest works to his last drawings, and with a biographical text by David Leopold, Hirschfeld authority, who, as archivist to the artist, worked side by side with him and has spent more than twenty years documenting the artist’s extraordinary output. Here is Hirschfeld at age seventeen, working in the publicity department at Goldwyn Pictures (1920–1921), rising from errand boy to artist; his year at Universal (1921); and, beginning at age eighteen, art director at Selznick Pictures, headed by Louis Selznick (father of David O.) in New York. We see Hirschfeld, at age twenty-one, being influenced by the stylized drawings of Miguel Covarrubias, newly arrived from Mexico (they shared a studio on West Forty-Second Street), whose caricatures appeared in many of the most influential magazines, among them Vanity Fair. We see, as well, how Hirschfeld’s friendship with John Held Jr. (Held’s drawings literally created the look of the Jazz Age) was just as central as Covarrubias to the young artist’s development, how Held’s thin line affected Hirschfeld’s early caricatures. Here is the Hirschfeld century, from his early doodles on the backs of theater programs in 1926 that led to his work for the drama editors of the New York Herald Tribune (an association that lasted twenty years) to his receiving a telegram from The New York Times, in 1928, asking for a two-column drawing of Sir Harry Lauder, a Scottish vaudeville singing sensation making one of his (many) farewell tours, an assignment that began a collaboration with the Times that lasted seventy-five years, to Hirschfeld’s theater caricatures, by age twenty-five, a drawing appearing every week in one of four different New York newspapers. Here, through Hirschfeld’s pen, are Ethel Merman, Benny Goodman, Judy Garland, Mickey Rooney, Katharine Hepburn, the Marx Brothers, Barbra Streisand, Elia Kazan, Mick Jagger, Ella Fitzgerald, Laurence Olivier, Martha Graham, et al. . . . Among the productions featured: Fiddler on the Roof, West Side Story, Rent, Guys and Dolls, The Wizard of Oz (Hirschfeld drew five posters for the original release), Gone with the Wind, The Sopranos, and more. Here as well are his brilliant portraits of writers, politicians, and the like, among them Ernest Hemingway (a pal from 1920s Paris), Tom Wolfe, Charles de Gaulle, Nelson Mandela, Joseph Stalin, Winston Churchill, and every president from Franklin D. Roosevelt to Bill Clinton. Sumptuous and ambitious, a book that gives us, through images and text, a Hirschfeld portrait of an artist and his age.
This fun and affordable book, which accompanies an exhibition at the Academy of Motion Picture Arts and Sciences, showcases Hirschfeld's artwork for movie posters, billboards, murals and theater displays. 115 illustrations.
Caricatures, photographs, and other works from throughout the artist's career are accompanied by his own comments and essays by family members and associates
A collection of Al Hirschfeld's cartoons to accompany an exhibition at he Museum of the City of New York. Besides his famous caricatures of stage and screen stars, he includes scenes of New York City. Bell is a writer and art historian formerly with the Museum. c. Book News Inc.
The definitive biography of Al Hirchfeld, renowned caricaturist and artist. Al Hirschfeld knew everybody and drew everybody. He occupied the twentieth century, and illustrated it. Hirschfeld: The Biography is the first portrait of the renowned artist's life—as spirited and unique as his pen-and-ink drawings. Beginning in the 1920s, he caricatured Hollywood actors, Washington politicians, and—his favorite—celebrities of the stage. Broadway belonged to Hirschfeld. His work appeared in the New York Times and other publications, as well as on book jackets, album covers, posters, and postage stamps, for more than seventy-five years. He lived in Paris, Moscow, and Bali, and in a pink New York townhouse on a star-studded block where his closest friends—Carol Channing, S. J. Perelman, Gloria Vanderbilt, Brooks Atkinson, Elia Kazan, Marlene Dietrich, and William Saroyan—flocked in and out. He played the piano, went to jazz joints with Eugene O'Neill, and wrote a musical that bombed. He drove until he was ninety-eight years old and always found a parking space. He worked every day, threw dinner parties twice a week, and hosted New Year's Eve soirees that were legendary. He had three wives, a formidable agent, and a daughter, Nina, the most famous little girl that no one knows. Hirschfeld died in 2003, at the age of ninety-nine. "If you live long enough," he liked to say, "everything happens." For him, it did. And good and bad—it's all here. Through interviews with Hirschfeld himself, his friends and family (including the mysterious Nina), and his famous subjects, as well as through letters, scrapbooks, and home movies, Ellen Stern has crafted a delightful, detailed, and definitive portrait of Al Hirschfeld, one of our most beloved, and most influential, artists.
I am down to a pencil, a pen, and a bottle of ink. I hope one day to eliminate the pencil. Al Hirschfeld redefined caricature and exemplified Broadway and Hollywood, enchanting generations with his mastery of line. His art appeared in every major publication during nine decades of the twentieth and twenty-first centuries, as well as on numerous book, record, and program covers; film posters and publicity art; and on fifteen U.S. postage stamps. Now, The Hirschfeld Century brings together for the first time the artist’s extraordinary eighty-two-year career, revealed in more than 360 of his iconic black-and-white and color drawings, illustrations, and photographs—his influences, his techniques, his evolution from his earliest works to his last drawings, and with a biographical text by David Leopold, Hirschfeld authority, who, as archivist to the artist, worked side by side with him and has spent more than twenty years documenting the artist’s extraordinary output. Here is Hirschfeld at age seventeen, working in the publicity department at Goldwyn Pictures (1920–1921), rising from errand boy to artist; his year at Universal (1921); and, beginning at age eighteen, art director at Selznick Pictures, headed by Louis Selznick (father of David O.) in New York. We see Hirschfeld, at age twenty-one, being influenced by the stylized drawings of Miguel Covarrubias, newly arrived from Mexico (they shared a studio on West Forty-Second Street), whose caricatures appeared in many of the most influential magazines, among them Vanity Fair. We see, as well, how Hirschfeld’s friendship with John Held Jr. (Held’s drawings literally created the look of the Jazz Age) was just as central as Covarrubias to the young artist’s development, how Held’s thin line affected Hirschfeld’s early caricatures. Here is the Hirschfeld century, from his early doodles on the backs of theater programs in 1926 that led to his work for the drama editors of the New York Herald Tribune (an association that lasted twenty years) to his receiving a telegram from The New York Times, in 1928, asking for a two-column drawing of Sir Harry Lauder, a Scottish vaudeville singing sensation making one of his (many) farewell tours, an assignment that began a collaboration with the Times that lasted seventy-five years, to Hirschfeld’s theater caricatures, by age twenty-five, a drawing appearing every week in one of four different New York newspapers. Here, through Hirschfeld’s pen, are Ethel Merman, Benny Goodman, Judy Garland, Mickey Rooney, Katharine Hepburn, the Marx Brothers, Barbra Streisand, Elia Kazan, Mick Jagger, Ella Fitzgerald, Laurence Olivier, Martha Graham, et al. . . . Among the productions featured: Fiddler on the Roof, West Side Story, Rent, Guys and Dolls, The Wizard of Oz (Hirschfeld drew five posters for the original release), Gone with the Wind, The Sopranos, and more. Here as well are his brilliant portraits of writers, politicians, and the like, among them Ernest Hemingway (a pal from 1920s Paris), Tom Wolfe, Charles de Gaulle, Nelson Mandela, Joseph Stalin, Winston Churchill, and every president from Franklin D. Roosevelt to Bill Clinton. Sumptuous and ambitious, a book that gives us, through images and text, a Hirschfeld portrait of an artist and his age.
Lion of Hollywood is the definitive biography of Louis B. Mayer, the chief of Metro-Goldwyn-Mayer—MGM—the biggest and most successful film studio of Hollywood’s Golden Age. An immigrant from tsarist Russia, Mayer began in the film business as an exhibitor but soon migrated to where the action and the power were—Hollywood. Through sheer force of energy and foresight, he turned his own modest studio into MGM, where he became the most powerful man in Hollywood, bending the film business to his will. He made great films, including the fabulous MGM musicals, and he made great stars: Garbo, Gable, Garland, and dozens of others. Through the enormously successful Andy Hardy series, Mayer purveyed family values to America. At the same time, he used his influence to place a federal judge on the bench, pay off local officials, cover up his stars’ indiscretions and, on occasion, arrange marriages for gay stars. Mayer rose from his impoverished childhood to become at one time the highest-paid executive in America. Despite his power and money, Mayer suffered some significant losses. He had two daughters: Irene, who married David O. Selznick, and Edie, who married producer William Goetz. He would eventually fall out with Edie and divorce his wife, Margaret, ending his life alienated from most of his family. His chief assistant, Irving Thalberg, was his closest business partner, but they quarreled frequently, and Thalberg’s early death left Mayer without his most trusted associate. As Mayer grew older, his politics became increasingly reactionary, and he found himself politically isolated within Hollywood’s small conservative community. Lion of Hollywood is a three-dimensional biography of a figure often caricatured and vilified as the paragon of the studio system. Mayer could be arrogant and tyrannical, but under his leadership MGM made such unforgettable films as The Big Parade, Ninotchka, The Wizard of Oz, Meet Me in St. Louis, and An American in Paris. Film historian Scott Eyman interviewed more than 150 people and researched some previously unavailable archives to write this major new biography of a man who defined an industry and an era.
"What audacity!" exclaimed actor Robert Wagner when he heard about the authors' adolescent exploits in nabbing interviews with Hollywood celebrities. In 1978, Fantle and Johnson, St. Paul teenagers, boarded a plane to meet with Fred Astaire and Gene Kelly. They had written the stars requesting interviews--and to their amazement, both agreed. Over the years, more than 250 other stars also agreed--Lucille Ball, Bob Hope, James Cagney, Mickey Rooney, Debbie Reynolds, George Burns, Rod Steiger, Milton Berle, Frank Capra and Hoagy Carmichael, to name a few. Published for the first time and with exclusive photos, this selection of 75 interviews chronicles the authors' 40-year quest for insights and anecdotes from iconic 20th century artists.