Attempted Bloggery: Henri Rousseau

Showing posts with label Henri Rousseau. Show all posts

Friday, March 22, 2019

Mort Gerberg Cartoons: A New Yorker's Perspective

Last week I stopped by the New-York Historical Society to see the exhibition "Mort Gerberg Cartoons: A New Yorker's Perspective." The retrospective fills the second floor hallway gallery. All the drawings are originals. The material is also presented in the brand new book Mort Gerberg on the Scene (Fantagraphics Underground, 2019), but seeing the originals in person is a different experience and provides a more complete understanding of the artist's achievement. A few photographs should give an idea of what lies in store.

"What, are you crazy? We've got tickets to 'The Producers' for tomorrow night!"
Sketch for Playboy, 2002
Collection Judith Gerberg

The artist's impressive output includes reportage for men's magazines. Here he conducts research in a Greek nightclub:

Seven Nights on the Belly Dance Scene, 1965
Hi-Life

He was on the scene at the tumultuous 1968 Democratic National Convention in Chicago for Cavalier:

Chicago Democratic National Convention, August 1968
Cavalier

Gerberg has fallen under the spell of the great masters: Michelangelo, da Vinci, Rousseau, Addams.

"Imbecile! I said 'fresh coat'—not 'Frescoes'!"
The Saturday Evening Post, January 1964

Mona Lisa, 1966
The New Yorker

Sleeping Gypsy
After Henri Rousseau
The New Yorker, February 2004
Collection of Lilia Gerberg

Ski Slope
After Charles Addams
The New Yorker, February 19, 2001
Collection of Lilia Gerberg

One more for the road:

Witches
The New Yorker, October 26, 1998
Collection of Lilia Gerberg

Note: "Mort Gerberg Cartoons: A New Yorker's Perspective" remains on view at the New-York Historical Society through May 5, 2019. Catch it!

Quick Links to the Attempted Bloggery Archives:

Mort Gerberg

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Original New Yorker Cartoon Art

Original Cartoon Art (Not from The New Yorker)

Attempted Bloggery's New-York Hysterical Index

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Tuesday, March 5, 2019

Forbes: "What Greenhouse Effect?"

Climate change denial is nothing new. In 1990, Forbes put its towering journalistic reputation on the line, questioning the science of what was then termed "…the greenhouse effect—a.k.a. global warming…" in its own pages and through advertising in the influential pages of The New Yorker (and perhaps other publications). The conservative business magazine took out a two-page ad, the first page of which reproduced a large detail of a colorful primitive painting by Henri Rousseau, The Dream (1910, the Museum of Modern Art) showing a female nude in the jungle. Meanwhile the ad copy reassured The New Yorker's perennially well-informed readers "...that the effects of the greenhouse effect are—at worst—minimal" while warning that "the cure being touted could easily result in a revolt of the poor countries against the rich and hurl the world economy into the red." Capitalist Tool, indeed.