Synopses & Reviews
Children, octogenarians, and everyone in between know the work of William Steig, the beloved cartoonist and award-winning childrenand#8217;s book author whose work graced the covers and pages of the New Yorker
for more than 70 years. In Cats, Dogs, Men, Women, Ninnies and Clowns: The Lost Art of William Steig
, Jeanne Steig uncovers more than 450 never-before-published cartoons by her husband and provides personal insight and anecdotes about his work and her relationship with Bill, shedding new light on this celebrated genius.
Praise for Cats, Dogs, Men,Women, Ninnies and Clowns:
and#160;"A treasure trove of hundreds of previously unpublished illustrations by childrenand#8217;s book icon Steig, this compendium is organized thematically (people, dogs, and#8220;odd ducks,and#8221; etc.); the late Steigand#8217;s wife, Jeanne, introduces each section with delightful, insightful anecdotes. and#8220;He used to refer to us fondly as and#8216;a couple of cats,and#8217; or perhaps more romantically as and#8216;two rolls on a plate,and#8217; and#8221; she writes. Of course, the best sense of the man behind Shrek!, Sylvester and the Magic Pebble, and other favorites is gained from the strange, free, and wholly original artwork that fill the pages with caricatured portraits, animals aand#8217;courting, drunken clowns, knife fights, and creatures impossible to name. Taken as a whole, the glorious lunacy is testimony to a true iconoclast."
-- Publishers Weekly, starred review
and#8220;What a splendid gift it would be if the works tearing up the best-seller lists werenand#8217;t that of a Stieg Larsson, but a Steig, William.and#8221;
and#8212;New York Times The Moment blog
and#8220;Pure pleasure from cover to coverand#8221;
and#8220;The book details a great character, and does so with a remarkable charm. Highly recommended for all interested in comic history and everyone who likes to look on the lighter side of life.and#8221;
"Steinberg's high-concept graphic art epitomized by his oft-imitated cartoon map in which a Manhattan distended with self-importance shoves the continents of North America and Asia to the margins is enchantingly showcased in this lavishly illustrated retrospective of his work for the New Yorker. Smith, a curator at the Frances Lehman Loeb Art Center at Vassar and author of Edward Steichen: The Early Years, surveys six decades of Steinberg's pieces, including all 89 New Yorker covers (in full color), cartoons, wartime sketches from overseas, evocative (but never literal-minded) illustrations for articles, and unpublished items from the artist's portfolio. The material is arranged thematically, examining such recurring motifs as cats, pedestals and rubber-stamped figures and documenting the turn to visual metaphor in Steinberg's later work, where symbolic graphic representations of sound, abstract relationships and existential conundrums replace the usual scenario-with-verbal-punch line cartoon setup. Smith's pithy biographical essay situates Steinberg as a self-conscious modernist who helped develop a distinctive New Yorker visual style, one with 'a wry, informal wit... attuned to the jittery optimism of the Atomic Age.' Steinberg's cartoons usually made readers think before they laughed, and so will this splendid memorial to a 20th-century artistic landmark." Publishers Weekly (Copyright Reed Business Information, Inc.)
For six decades, Saul Steinberg's covers, cartoons, features, and illustrations were a defining presence at The New Yorker
. As the magazine became a standard-bearer of taste and intelligence in American letters, Steinberg's drawings emerged as its visual epitome. This richly illustrated book, featuring Joel Smith's astute text and a captivating introduction by the artist's friend and colleague Ian Frazier, explores the remarkable range and unceasing evolution of a major American modernist-one whose art reached a grateful public not from museum walls but from the pages of the periodical he called "my refuge, patria, and safety net."
All Steinberg's New Yorker covers appear here in full color, along with over 130 examples of inside art, from black-line drawings to elaborate color portfolios. Also included are Steinberg's most beloved, intuitive, and brilliant inspirations, among them a New York populated with stoical cats, precocious children, puzzled couples, and a menagerie of vivid grotesques. A vibrant celebration of one of the most original and engaging artists of the 20th century, Steinberg at The New Yorker brings alive a genius, a magazine, and an era.
About the Author
William Steig (1907and#8211;2003) was an artist and writer best known for Shrek! (the basis of the blockbuster film series). He received the Caldecott Medal and the Newbery Honor. Jeanne Steig is the author of A Handful of Beans and A Gift from Zeus. She is also a self-taught artist, working almost exclusively with found materials. She lives in Boston. Roz Chast is a cartoonist whose work regularly appears in the New Yorker. She lives in Connecticut. Jules Feiffer is an award-winning writer, illustrator, screenwriter, playwright, childrenand#8217;s book author, and cartoonist. He lives in New York City.