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Inside this book are short biographical sketches about the many artists represented in the Library of Congress' Swann Collection compiled by Erwin Swann (1906-1973). In the early 1960s, Swann, a New York advertising executive started collecting original cartoon drawings of artistic and humorous interest. Included in the collection are political prints and drawings, satires, caricatures, cartoon strips and panels, and periodical illustrations by more than 500 artists, most of whom are American. The 2,085 items range from 1780-1977, with the bulk falling between 1890-1970. The Collection includes 1,922 drawings, 124 prints, 14 paintings, 13 animation cels, 9 collages, 1 album, 1 photographic print, and 1 scrapbook.
A decade-by-decade exploration of prominent illustrators, with each decade introduced by a famous illustrator or historian: Walt Reed, Ben Eisenstat, Harold Von Schmidt, Arthur William Brown, Norman Rockwell, Floyd Davis, Al Parker, Austin Briggs, Bernard Fuchs, and Murray Tinkelman.
Chronologically examines the schools and styles of American illustration since 1860 and profiles hundreds of artists, including Theodore Geisel, Louise Patterson, and John Collier.
This book explores the major cultural forms of 1940s America - fiction and non-fiction; music and radio; film and theatre; serious and popular visual arts - and key texts, trends and figures, from Native Son to Citizen Kane, from Hiroshima to HUAC, and from Dr Seuss to Bob Hope. After discussing the dominant ideas that inform the 1940s the book culminates with a chapter on the 'culture of war'. Rather than splitting the decade at 1945, Jacqueline Foertsch argues persuasively that the 1940s should be taken as a whole, seeking out links between wartime and postwar American culture.
Since ancient times, wars have inspired artists and their patrons to commemorate victories. When the United States finally entered World War I, American artists and illustrators were commissioned to paint and draw it. These artists’ commissions, however, were as captains for their patron: the US Army. The eight men—William J. Aylward, Walter J. Duncan, Harvey T. Dunn, George M. Harding, Wallace Morgan, Ernest C. Peixotto, J. Andre Smith, and Harry E. Townsent—arrived in France early in 1918 with the American Expeditionary Forces (AEF). Alfred Emile Cornebise presents here the first comprehensive account of the US Army art program in World War I. The AEF artists saw their role as one of preserving images of the entire aspect of American involvement in a way that photography could not.