Steinberg at the New Yorker Through the 1950s, Steinberg's acute, spontaneous, fluid line was in constant demand among periodicals and book publishers throughout Europe and the United States.Born in Romania in 1914, Steinberg studied architecture in Milan and made a name for himself as a cartoonist before fleeing fascist Ital
| Title | : | Steinberg at the New Yorker |
| Author | : | |
| Rating | : | 4.87 (975 Votes) |
| Asin | : | 0810959011 |
| Format Type | : | Hardcover |
| Number of Pages | : | 240 Pages |
| Publish Date | : | 2005-02-08 |
| Genre | : |
Born in Romania in 1914, Steinberg studied architecture in Milan and made a name for himself as a cartoonist before fleeing fascist Italy in 1941. Avidly sponsored by The New Yorker, he arrived in Manhattan the following year, only to join the military on a worldwide tour of duty, which he chronicled in the pages of the magazine. Through the 1950s, Steinberg's acute, spontaneous, fluid line was in constant demand among periodicals and book publishers throughout Europe and the United States. In sixty years, he worked with every editor The New Yorker has had, and he created art of every category it employed, including covers, cartoons, spot drawings, illustrations for Profiles, and multi-page portfolios. All 87 of Steinberg's covers are seen here in full colour, as well as colour drawings which originally appeared in black and white, and 25 thematic plate sections which explore his defining preoccupations. The accompanying essay by art historian Joel Smith considers Steinberg's work in t
Editorial : From Publishers Weekly Steinberg's high-concept graphic art—epitomized by his oft-imitated cartoon map in which a Manhattan distended with self-importance shoves the continents of North America and Asia to the margins—is enchantingly showcased in this lavishly illustrated retrospective of his work for the New Yorker. Smith, a curator at the Frances Lehman Loeb Art Center at Vassar and author of Edward Steichen: The Early Years, surveys six decades of Steinberg's pieces, including all 89 New Yorker covers (in full color), cartoons, wartime sketches from overseas, evocative (but never literal-minded) illustrations for articles, and unpublished items from the artist's portfolio. The material is arranged thematically, examining such recurring motifs as cats, pedestals and rubber-stamped figures and documenting the turn to visual metaphor in Steinberg's later work, where symbolic graphic representations of sound, abstract relationships and existential conundrums re
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The contributors range from old friends to business associates, politicians, other radio personalities and "ordinary" list
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