Some readers suggested that if Leyendecker deserves broader attention, I should help give him more attention rather than whining about the people who don't. Fair enough:
It's important to remember that most people became familiar with Leyendecker in an era when printing technology was relatively primitive and full color reproduction was rare.
So when the public is given a chance to view his original paintings, they are surprised by his acute powers of observation and his astonishing technical skills.
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| Images courtesy of the Kelly Collection of American Illustration |
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| Every artist today would know enough to paint those white highlights, but how many would also notice that the reflected light on the underside of the black beads is a warm color due to her skin, or notice the proper color for the shadow of the beads on her flesh? More importantly, how many would even care, if their picture was to be reproduced in two colors? |
In books about Leyendecker, we repeatedly see the same pictures of his stylish Arrow collar man, or Kuppenheimer ads, or sports figures. But Leyendecker did hundreds of quality covers on a variety of topics for The Saturday Evening Post and Collier's that you rarely-- if ever-- see reproduced.
There's still a rich lode of Leyendecker's oeuvre which has yet to be mined and appreciated. It deserves to be taken seriously.
10 comments:
...AND,David, you support us all seeing just those fantastic details by allowing us to read your blog. Thanks
In contrast this is an illustration from 10/8 NY Times by Isabella Fasler:
nyt://image/e16580b7-089e-59c2-b6c9-38d77ed77524
Sorry folks I screwed up http from the NYTimes, if interested go to their site and just look at the illustration for the article, “Investing Has Been Ugly. Stick With It Anyway”
Leyendecker was truly awesome.
Leyendecker makes it seems so effortless. I can understand how people who have had no experience holding a paintbrush might mistake his ease for easiness and think little of it. But even his weaker works are extraordinary in athletic craft and creativity. And crystal clear in conception.
I had the privilege of seeing several original Leyendeckers in Illustration House in NYC ten years ago.
THEY WERE AMAZING. The color was pristine, and they still looked freshly painted.
It must be true what they say about his homemade painting medium.
Whatever he did, it worked.
Leyendecker always puts me in mind of Michelangelo, especially mid-period Michelangelo. The sense of form and articulation of it seems to come from largely the same place; concise yet poetical solutions suggesting the complexities and ambiguities of nature.
Late to the post, but these illustrations are fantastic, particularly "The Marne" and the armed Uncle Sam. I found this blog a little less than a year ago and just want to say I find it fascinating, Keep p the good work.
David—As you know, in the late 1930s Leyendecker fell out of favor with most of the leading art directors. For someone so successful, this must have been devastating—a personal tragedy. I would like read your comments on this. I assume it was because his distinctive style was so strongly associated with the publications and fashion of the 1920s and early 30s— and even earlier. Do you know if he was having problems with the Saturday Evening Posy that may have triggered this?
The place to see Leyendecker originals is in Stockton, California:
https://hagginmuseum.org/leyendecker-j-c/.
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