Thursday, September 10, 2020


My current column for The Saturday Evening Post is about Robert Fawcett, the outspoken illustrator who didn't hesitate to offend clients when he felt it was necessary to protect a picture.

For example, when a client instructed Fawcett on how to change this illustration, he refused.
Fawcett believed the client's changes would degrade the picture, and rather than sell a bad picture with his name on it, Fawcett gave up the assignment and kept his illustration. 

Similarly, when an art editor instructed Mead Schaeffer on how a picture should look, Schaeffer sent this reply: 
Artists fight for many things-- money, credit, returned originals, status, copyrights-- but as I study the history of illustration, I'm repeatedly struck by the way some of the best illustrators fought for a picture. 

Austin Briggs destroyed his finished cover for The Saturday Evening Post right in front of the art director rather than make a change he considered racist. 

When the young Bernie Fuchs started out, a client rejected his finished painting of a car.  He threw Fuchs' painting on the floor and called Fuchs a "prima donna" because Fuchs tried an approach which strayed from official corporate policy. 

It was once considered heresy to illustrate a car in the shadows, or with an obstructed view, or at an odd angle.  Clients expected a sharp, well lit product center stage.  Fuchs fought to sell cars using mood and lifestyle. 
A few years later that same client was standing in line with others, begging for Fuchs' services.  One of Fuchs' co-workers from that era gleefully recalled, "All the local art directors kept calling up saying, I want Bernie! I want Bernie! But Bernie got tired of doing pictures of people holding drinks and just said, 'shove it.'"  He quit his by then lucrative commercial art studio and moved out of town to take a chance on free lance assignments that gave him more freedom.

Cartoonist Bill Watterson, creator of Calvin & Hobbes, famously took a stand against his own syndicate, turning down what he called "trainloads of money" in order to protect his creation from merchandising.  During the conflict, Watterson discovered there were very few precedents on his side: "When cartoonists fight their syndicates it's usually to make more money, not less."
One common theme to all these stories is that the illustrator had to be prepared to take a significant financial hit.  As Robert Fawcett lectured his fellow illustrators (as offensively as possible): 
It should be the aim of every illustrator to withstand the tendency of publications to force his work into a mold, to make him conform to an accepted pattern. This is a difficult thing to do — the financial rewards of conforming are great.... We must be ready to refuse work unless it allows us to conform in some degree to standards that we ourselves set....
Where did this strength come from?  

It's not as if these artists didn't need the money.  Most of them started out desperate for work and would say or do almost anything to get assignments.  In order to understand the measure of their  courage you have to understand how they scratched and clawed for those early commissions.

Mead Schaeffer got his first major assignment by furtively poking around the desk of the art editor at publisher Dodd, Mead.  Schaeffer spotted a manuscript for Moby Dick lying on the desk and volunteered for the job. The art editor explained that he was just about to call illustrator N. C. Wyeth with the assignment.  Schaeffer blocked him and offered to work for free:
 I suggested the following plan. If he would let me have the manuscript I would start at once on a dummy for the salesman. This would include three full-page color illustrations, frontispiece, and papers and jacket. If any one of the staff did not like the work or feel I could not do the finished work, all bets would be off and they would owe me nothing. 
Mr. Chase [the art director] was a little startled, told me to wait, that he must speak to the president Frank Dodd. I waited what seemed like hours until he returned with the boss. He warned me about the cost, that this was a very important assignment but that they would take a chance. I floated out onto the street clutching the precious manuscript so tight that even Sam Huff would have trouble getting it from me. Took subway uptown to 101st, ran up six flights of stairs yelling to [his new wife] “look what I got.” That night we sat up making plans.
Yet, this is the same Mead Schaeffer who told an art editor "stuff this" when the art editor tried to dictate the creative decisions in an illustration.

At first I wondered how such hungry, desperate artists ever transformed themselves into such confident, arrogant artists.  With time I came to realize that there was no inconsistency.  They might not fight over money or copyrights, but they found the courage to fight over what was more important to them.  Illustrator Bob Heindel explained it to me when talking about his friend, Bernie Fuchs:
I know Bernie has tried to choose his assignments, and I know he has done some work he is not so proud of....That's how you learn. But you learn to protect yourself, and mostly if you care about it you learn to protect your work. Bernie was always very protective of his ability. Not that he was vain-- quite the contrary. But he knew what he had. And he always wanted the opportunity to do his very best.
All of the artists I've discussed here had something to protect.  The only reason we know that today is because they protected it.


MORAN said...

Awesome letter from Schaeffer telling the AD to fuck off

chris bennett said...

Nice post David, thank you.

Anyone who is exceptional at what they do (rather than just being competent at it) are so because they can't help but make it with love. It therefore comes naturally to protect it.

kev ferrara said...

That's a nice Fawcett.

I miss Calvin & Hobbes. And the Far Side.

Schaeffer went on to do great things. But his moment as a desperate young artist low-balling NC Wyeth in absentia, thereafter producing the rather weak and stiff work that he did - thus denying the world of Moby Dick by N.C. Wyeth - which could have been a masterpiece - leaves a bad taste. I'm sorry I now know that story.

David Apatoff said...

MORAN-- Yup, pretty bold.

chris bennett-- I agree. We've seen different artists love different things--there are artists who make a lot of money by creating factories with helpers producing art on an assembly line. There are cartoonists who turn everything over to ghost artists. There are artists who love fame and surrender artistic freedom to create a "brand" targeted at the widest demographics. The ones who love their freedom are gambling that they know better than their editor, but for when that gamble pays off-- those artists are the great ones, the ones we remember.

Kev Ferrara-- I agree with you; I was a little horrified when I read Schaeffer's handwritten letter to his children recounting how he had blocked Wyeth from getting the Moby Dick assignment. I guess that bold action takes artistic courage too, but I think the world is a poorer place without a Wyeth Moby Dick.

Yes, Calvin & Hobbes and the Far Side were moments of greatness in a field that was supposed to be past its glory days.

kev ferrara said...

I guess that bold action takes artistic courage

For me, 'courage about one's art' and 'courage in one's art' don't merge. The former is up in the head as it dreams and beams out the mouth in public, while the latter happens in the No Words Land of the studio while wrestling with the incontrovertible.

Cam Nhung Dinh said...

I know that there are many artists who earn a lot of money by creating factories with helpers producing art on an assembly line.

Kilgharrah said...

So I've just discovered your blog through Pinterest and I love it <3
It's gonna be a long night.

David Apatoff said...

Kilgharrah-- Welcome aboard!

childbookillustrations said...

Thanks for writing this in-depth post.

childbookillustrations said...

Absolutely great post! I admire your time and efforts in creating this.

Brandon Pate said...

Thanks a lot for giving everyone an extremely brilliant chance to read from this website. It is usually so brilliant and also packed with amusement for me personally and my office peers to visit your blog at the least three times every week to read through the new guidance you have. Not to mention, I am just certainly contented considering the beautiful points you give. Selected two areas in this posting are without a doubt the most efficient we have had.
coastal decor wholesale

Unknown said...

My name is Mrs Aisha Mohamed, am a Citizen Of Qatar.Have you been looking for a loan?Do you need an urgent personal loan or business loan?contact Dr James Eric Finance Home he help me with a loan of $42,000 some days ago after been scammed of $2,800 from a woman claiming to been a loan lender but i thank God today that i got my loan worth $42,000.Feel free to contact the company for a genuine financial service. Email:( call/whats-App Contact Number +918929509036 Dr James Eric Finance Pvt Ltd

Rizwan said...

highest paying job in criminal justice
highest paying job in criminal justice

virtosuart said...

in art what is a medium