One of the most influential artists of his generation, Patterson's impact spanned decades. The list of Patterson's "alumni" ranged from virtually every published pin-up cartoonist to notables like Walt Disney and Hugh Hefner, who noted it was Patterson, not John Held, Jr. or F. Scott Fitzgerald, who best defined the strut and fret of American life between the two World Wars. Along with an introductory essay by illustration art historian Armando Mendez, this volume showcases Patterson at his pinnacle, featuring many his most important and dynamic magazine covers and illustrations. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Arial}
Canadian readers have enjoyed their own graphic satire since colonial times and Canadian artists have thrived as they took aim at the central issues and figures of their age. Graphic satire, a combination of humorous drawing and text that usually involves caricature, is a way of taking an ethical stand about contemporary politics and society. First appearing in short-lived illustrated weeklies in Montreal, Quebec City, and Toronto in the 1840s, usually as unsigned copies of engravings from European magazines, the genre spread quickly as skilled local illustrators, engravers, painters, and sculptors joined the teams of publishers and writers who sought to shape public opinion and public policy. A detailed account of Canadian graphic satire, Sketches from an Unquiet Country looks at a century bookended by the aftermath of the 1837–38 Rebellions and Canada’s entry into the Second World War. As fully fledged artist-commentators, Canadian cartoonists were sometimes gently ironic, but they were just as often caustic and violent in the pursuit of a point of view. This volume shows a country where conflicts crop up between linguistic and religious communities, a country often resistant to social and political change for women and open to the cross-currents of anti-Semitism, xenophobia, and fascism that flared across Europe and North America in the early twentieth century. Drawing on new scholarship by researchers working in art history, material culture, and communication studies, Sketches from an Unquiet Country follows the fortunes of some of the artists and satiric themes that were prevalent in the centres of Canadian publishing.
In Intoxicating Shanghai, Paul Bevan explores the work of a number of Chinese modernist figures in the fields of literature and the visual arts, with an emphasis on the literary group the New-sensationists and its equivalents in the Shanghai art world, examining the work of these figures as it appeared in pictorial magazines. It undertakes a detailed examination into the significance of the pictorial magazine as a medium for the dissemination of literature and art during the 1930s. The research locates the work of these artists and writers within the context of wider literary and art production in Shanghai, focusing on art, literature, cinema, music, and dance hall culture, with a specific emphasis on 1934 – ‘The Year of the Magazine’.
Entertaining, highly readable book pulses with the vernacular of young Americans from the end of the 19th century to the present. Alphabetical listings for each decade, plus fascinating sidebars about language and culture.
In The Making of Modern Britain, Andrew Marr paints a fascinating portrait of life in Britain during the first half of the twentieth century as the country recovered from the grand wreckage of the British Empire. Between the death of Queen Victoria and the end of the Second World War, the nation was shaken by war and peace. The two wars were the worst we had ever known and the episodes of peace among the most turbulent and surprising. As the political forum moved from Edwardian smoking rooms to an increasingly democratic Westminster, the people of Britain experimented with extreme ideas as they struggled to answer the question ‘How should we live?’ Socialism? Fascism? Feminism? Meanwhile, fads such as eugenics, vegetarianism and nudism were gripping the nation, while the popularity of the music hall soared. It was also a time that witnessed the birth of the media as we know it today and the beginnings of the welfare state. Beyond trenches, flappers and Spitfires, this is a story of strange cults and economic madness, of revolutionaries and heroic inventors, sexual experiments and raucous stage heroines. From organic food to drugs, nightclubs and celebrities to package holidays, crooked bankers to sleazy politicians, the echoes of today's Britain ring from almost every page.
Fantagraphics celebrates The Flapper Queens, a gorgeous collection of full-color comic strips. In addition to featuring the more well-known cartoonists of the era, such as Ethel Hays, Nell Brinkley, and Virginia Huget, Eisner award-winning Trina Robbins introduces you to Eleanor Schorer, who started her career in the teens as a flowery art nouveau Nell Brinkley imitator but, by the '20s, was drawing bold and outrageous art deco illustrations; Edith Stevens, who chronicled the fashion trends, hairstyles, and social manners of the '20s and '30s in the pages of The Boston Globe; and Virginia Huget, possibly the flappiest of the Flapper Queens, whose girls, with their angular elbows and knees, seemed to always exist in a euphoric state of Charleston.
The author examines the issues that have led to the decline of journalistic professionalism in recent years including intentional frauds and corruption, the effect of the Internet, and serious stories about unethical practices in journalism.
Located on Manhattan’s Lower East Side, Golgotham has been the city’s supernatural district for centuries. Populated by creatures from myth and legend, the neighborhood’s most prominent citizens are the Kymera, a race of witches who maintain an uneasy truce with the city’s humans… It has been several months since Tate Eresby developed her new magical ability to bring whatever she creates to life, but she is still learning to control her power. Struggling to make a living as an artist, she and Hexe can barely make ends meet, but they are happy. That is until Golgotham’s criminal overlord Boss Marz is released from prison, bent on revenge against the couple responsible for putting him there. Hexe’s right hand is destroyed, leaving him unable to conjure his benign magic. Attempts to repair the hand only succeed in plunging Hexe into a darkness that can’t be lifted—even by news that Tate is carrying his child. Now, with her pregnancy seeming to progress at an astonishing rate, Tate realizes that carrying a possible heir to the Kymeran throne will attract danger from all corners, even beyond the grave...
