![]() The artist’s subjects are white, cultured, privileged, “upholding racial, social and nationalist hierarchies”.īut how representations were and are understood depends on the eye of the beholder. “Leyendecker’s subjects exemplify an elite white masculinity that was hardly representative of the diversity of the United States in his time, or since” observes Sonya Abrego. Some, however, were erotic, like this one by Leyendecker featuring a man in a floor-length robe, whose crotch is suggestively rendered. Image courtesy of the National Museum of American Illustration, Newport, RIįeatured in mainstream national magazines, ads for Ivory soap often depicted scenes of conventional domesticity. ![]() Painting for Ivory soap advertisement, 1900 Leyendecker and American Masculinity, valuable bodies, youthful ideal of American beautyĮxhibition dates: 5th May – 13th August, 2023 Leyendecker Men with Golf Clubs, Leyendecker illustration, lifestyle branding, magazine covers, male types from the mass market, Marcus Bunyan The Eye of the Beholder, masculine icons, Masculinity and Style, Men and Woman Arrow Shirts with Golf Clubs and Collie, Men with Golf Clubs, men's informal dress and posture, monied white male as signifier, Pilgrim and Football Player, pop culture icon, Queer Black men, queer gaze, Saturday Evening Post, self as a social construction, Thanksgiving, The Eye of the Beholder, Under Cover, Under Cover: J.C. Leyendecker Men and Woman Arrow Shirts with Golf Clubs and Collie, J.C. Leyendecker and American Masculinity, J.C. Tags: A Superb Example of the Common Man, aesthetics of graphic design, American advertising, American advertising of the early 20th century, American gay artist, American illustration, American illustrator and commercial artist, American masculine icons, American masculinity, American painting, American painting of the early 20th century, Arrow Collar advertisement, Arrow Collar Man, Art Deco style, Black Harlem Renaissance, black masculinity, capitalist consumer society, Charles Beach, Cluett Peabody & Co., commercial artist, commercial illustrations, conditions of understanding, Couple in Boat, elite white masculinity, gay artist, gay men and commercial illustrations in early 20th century America, Harlem Renaissance, hegemonic masculinity, homosocial spaces, idealised masculinity, images of men, Ivory soap advertisement, Ivory Soap It Floats, J.C. (Sept.Categories: American, beauty, drawing, exhibition, existence, gallery website, illustration, intimacy, light, memory, New York, painting, portrait, psychological, quotation, reality, space, time and works on paper Still, this is an ingenious little book, well worth adding to a comics collection. However, they can also be overly obvious and a too pious, prompting a cringe even from those who might agree with Kuper's message. When these strips work, they're clever, honest and thoughtful. Who is so clearly (and inappropriately) obsessed with these women? Turn the page and discover that the voyeur is a baby, who tosses aside his bottle and reaches out for better fare. Images of women, with the focus on their clothed breasts, appear in one sequence. The fifth panel, overleaf, reveals the answer. The first four panels provide the clues from which you're challenged to figure out from whose perspective the scenes are viewed. Often political in tone and subject, they always make a statement. In this 6圆 format volume, the second collection of the comic to be published, the five-panel, black and white strips appear as cleverly conceived, intricately drawn visual and perceptual puzzles. The Times eventually stopped running it, but it continues to appear syndicated in papers around the country. Political cartoonist Kuper's "Eye of the Beholder" comic strip was the first ever to appear in the New York Times.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |