Dibujo

Saul Steinberg: New York Moonlight, 1974-1981
Saul Steinberg: New York Moonlight, 1974-1981

Like many children of the 1970s, I first encountered Saul Steinberg’s drawings on the cover of The New Yorker. Or, to be more precise, I first saw printed reproductions of his drawings on New Yorker covers plastered all over the walls of my family’s bathroom in Omaha, Nebraska. Like many bathrooms of the era, ours had become a do-it-yourself decorating project for my mother, for which New Yorkers—and, apparently, reproductions of nineteenth-century Sears-Roebuck catalog pages—were deemed de rigueur sometime during the years of the Ford administration. I would spend extended sessions puzzling over the pictures, which towered not only above my child-sized perspective, but also beyond the limits of my understanding. (I think my mother put the antique whalebone corset and uterine syringe advertisements near the ceiling for a reason.)

But it was the “View of the World from Omaha, Nebraska” poster framed in our den that most fascinated me. Its title, typeset in the legitimizing New Yorker font, and its curious, childlike cartoon map of familiar downtown buildings disappearing into a pastureland of distant pimples labeled with names like “Pittsburgh,” “Philadelphia,” and “New York” before rolling off into the ocean absolutely captivated me with the idea that I could be living in such an important city as Omaha—especially given that The New Yorker had seen fit to highlight the fact on a sheet of paper four times the usual size of the magazine. After all, Nebraska is more or less traditionally considered the geographic center of the United States—and is actually labeled as such in the real View of the World from 9th Avenue, drawn by Steinberg, which appeared on the March 29, 1976, cover of The New Yorker. The original did not, unfortunately, appear on our bathroom wall, so when I first saw the genuine image years later as a teenager, I still felt a lingering security within its strange loop of place-time—even if only then was I getting the actual joke. Seguir leyendo …

La historieta argentina: Los historiadores no suelen incluirlas entre sus fuentes historiográficas pero las revistas de humor con sus caricaturas y sarcasmos reproducen fielmente costumbres, usos y episodios de la época en la que se editaron (enlace facilitado por nuestro corresponsal en América del Sur).

Art PassionsIlustrar un libro no es tarea fácil y sin embargo muchos ilustradores y grabadores no obtienen sino el olvido de las futuras generaciones. Muchos artistas se ganaron la vida como ilustradores de libros y un buen ejemplo de ello lo tenemos en Gustave Doré, pintor e ilustrador francés del siglo XIX. Obras maestras como Don Quijote de la Mancha o la Biblia se enriquecieron con sus ilustraciones y grabados. Pero en esta página no sólo encontraremos los grabados de este francés sino de otros muchos más como Arthur Rackham, William Morris, Aubrey Beardsley, Edmund Dulac, Kay Nielsen, Adrienne Segur, Sulamith Wulfing y Warwick Goble.

Desde la Queesland Art Gallery nos llega este fenomenal sitio donde podremos descubrir a una gran viajero, excelente dibujante y mejor paisajista: Conrad Martens.

Forest, Cunningham's Gap
Forest, Cunningham’s Gap

Forest, Cunningham’s Gap, 1856
Watercolour. 30.5 x 42cm
Collection: Queensland Art Gallery.

The squatters and tourists used Cunningham’s Gap to travel between Brisbane and the Downs; it was only a rough bridle path, unsuitable for stock or vehicles. From 1847 until the 1920s Spicer’s Gap Road was the usual route, but the steep track through Cunningham’s Gap had better views and remained the favourite with tourists.