However, as the years passed, illustrations evolved into more than just a visual representation of a story. They became a crucial part of the overall page decoration. The visual impact of a story spread-the picture, title, and text-became just as important as the painting itself. While many illustrators of the earlier period struggled to accept this new concept of magazine illustration, Carter was one of the few established artists who was able to evolve his style and adapt to the market, retaining his position as a leading illustrator for many years. To him, the new modern formula "...was a challenge and I accepted it with pleasure. After all, the illustrator should be able to serve the needs of changing times. As I see it his function is to do a good job within whatever limitations are imposed by new conditions."
Carter's early work was inspired by the painterly and impressionistic style of Walter Biggs, who was a close associate. By the early 1950s, however, his style became more graphic and linear, incorporating drawings made directly on top of previously painted areas. His ability to remain successful relied on more than just his ability to change his style with the times, however. As Carter noted in an interview in 1948:
The illustrator's first function is a problem of composition, of pattern, of design-including the rich contrast of the illustration itself with the type matter and headlines of the story.
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この記事は Illustration の Illustration No. 80 版に掲載されています。
7 日間の Magzter GOLD 無料トライアルを開始して、何千もの厳選されたプレミアム ストーリー、9,000 以上の雑誌や新聞にアクセスしてください。
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THE ART OF PAUL BRANSOM
Paul Bransom (1885-1979) was widely known as the Dean of American Animal Artists. His work appeared on the covers of magazines like The Saturday Evening Post and served as illustrations of short stories in periodicals and in books. He provided the illustrations for some 45 books, most notably the 1912 edition of Jack London’s Call of the Wild and the 1913 edition of Kenneth Grahame’s The Wind in the Willows.
THE ART OF FRANK MCCARTHY
Witnessing a Wild West show as a young boy was a crucial early influence that led Frank McCarthy to become a distinguished painter of Western historical themes. The excitement and emotion he felt that day stayed with him, and can be seen in the vivid action, color, and splendor that emanate from his paintings.
THE ART OF WARD BRACKETT
Ward Brackett (April 2, 1914–December 14, 2006) was a gifted American illustrator, known for his work in paperback books and periodicals such as Reader’s Digest and Cosmopolitan.
THE ART OF N.C. WYETH
For over 25 years, N.C. Wyeth was regarded as the foremost illustrator of books and magazines in the United States. His artwork for iconic tales of romance and adventure has become synonymous with the stories themselves, familiar to multiple generations of readers. Some of the best-known characters in literature have become nearly indistinguishable from the images he produced.
THE ART OF CHARLES LASALLE
\"We have some artists in the family.\" I didn't know it at the time, but my future father-in-law Aiden E. LaSalle was a master of understatement.
THE ART OF PRUETT CARTER
Pruett Carter was once recognized as one of America's top illustrators, during a time when illustrations were viewed primarily as easel paintings
THE ART OF RAYMOND JOHNSON
Raymond Sven (Ray) Johnson was a commercial illustrator who created iconic paperback book covers spanning all genres of fiction for Avon, Popular Library, Monarch and other publishers from the late 1940s through the early 1960s.
"Blow some my way"
THE DELINEATION OF DESIRE IN 1920s COMMERCIAL ILLUSTRATION
THE ART OF FRITZ WILLIS
Fritz Willis was born in Oklahoma in 1907, and raised in Boston.
THE ART OF WILLIAM OBERHARDT
Illustrator William Oberhardt (1882-1958) was born in Guttenberg, New Jersey, 1882.
