Born in Romania in 1914, Steinberg studied architecture in Milan and made a name for himself as a cartoonist before fleeing fascist Italy in 1941. Avidly sponsored by The New Yorker, he arrived in Manhattan the following year, only to join the military on a worldwide tour of duty, which he chronicled in the pages of the magazine. Through the 1950s, Steinberg's acute, spontaneous, fluid line was in constant demand among periodicals and book publishers throughout Europe and the United States. In sixty years, he worked with every editor The New Yorker has had, and he created art of every category it employed, including covers, cartoons, "spot" drawings, illustrations for Profiles, and multi-page portfolios. All 87 of Steinberg's covers are seen here in full colour, as well as colour drawings which originally appeared in black and white, and 25 thematic plate sections which explore his defining preoccupations. The accompanying essay by art historian Joel Smith considers Steinberg's work in the context of the magazine's evolution, during and after World War II, from a humorous weekly to one of the defining standard bearers of taste and intelligence in American letters.
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Editorial Reviews
From Publishers Weekly
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color), cartoons, wartime sketches from overseas, evocative (but never literal-minded) illustrations for articles, and unpublished items from the artist's portfolio.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. (Apr.)
From Booklist
Everybody knows that the only reason (OK, not the only reason) most people read the New Yorker is the cartoons. Fortunately, the most famous New Yorker cartoonist, Saul Steinberg (1914-99), was so frequently published on the magazine's cover that exclusive admirers could be forgiven for seldom plucking an issue from the newsstand or plumbing its contents. Smith's generous selection from all of Steinberg's New Yorker work shows such connoisseurs what they missed: black-ink drawings, sparingly shaded, that are as droll as the carefully colored line works on the covers. Steinberg, who said he drew cartoons for readers, used captions only in his earliest New Yorker work; later, he compositionally integrated words. He expected his fanciers' knowledge of the world and people, particularly New Yorkers, to enable them to see the humor in his work. Besides providing an excellent appreciative essay, Smith groups the plates and figures thematically and reprises all the Steinberg covers in chronological order at the end of the book. Ray Olson
Copyright © American Library Association. All rights reserved
Copyright © American Library Association. All rights reserved
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Most Helpful Customer Reviews
17 of 18 people found the following review helpful:
5.0 out of 5 stars
A must have,
By Pearl Zovwizdom (USA) - See all my reviews
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This review is from: Steinberg at the New Yorker (Hardcover)
Magnificent. Beautifully reproduced artwork of my favorite cartoonist/illustrator of all time. From pen and ink drawings you've never seen before to full-size New Yorker covers, this book is an amazing resource. I also like the fact that Steinberg's New Yorker covers are reproduced in miniature at the end, in chronological order. But this book is more than an art portfolio. Joel Smith's contributions, which range from the biographical to the curatorial, bring a new level of appreciation to Steinberg's work.
11 of 12 people found the following review helpful:
5.0 out of 5 stars
Steinbergiana,
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This review is from: Steinberg at the New Yorker (Hardcover)
"Steinberg at The New Yorker" makes an important, even indispensable contribution to the understanding of Steinberg's work and life. Not since Harold Rosenberg's discriminating essays on Steinberg has there been such a good source of insight about his procedures and concepts. Ian Frazier's memoir fleshes out this otherwise mysterious character, Joel Smith's commentary offers brief but appropriate insights, the images themselves are wonderful, copious, superbly reproduced--many in full size. A monument to Steinberg and a key historical document at the same time.
16 of 19 people found the following review helpful:
2.0 out of 5 stars
Great Art, Weak Writing,
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This review is from: Steinberg at the New Yorker (Hardcover)
This book was a disappointment to me. The writing is too removed from the subject. It has a strong chronological structure, however it is very impersonal. Most of the quotes seem to be pulled from interviews. I would prefer more information about Steinberg's life.
What did he like to eat? Write more about his relationship with Abstract Expressionists. Aren't there any stories about him being funny or having funny experiences in his travels? More about his relationship with Hedda Sterne. Did he speak with an accent? Was he fussy or snobby? Would he have a conversation with the newspaper vendor on the street? Did he feud with anyone besides Tina Brown? More about other New Yorker cartoonists and their relationships. The book lacks insight and a personal feel. It is shallow and superficial account of his life. If this book were a trip to Europe, it would be like a package deal with a strict itinerary. Every morning, you get on the bus and travel to another city. All meals are timed with great food. It is over planned and comprehensive. All major sights are seen. As apposed to a trip with a friend, who shows you their favorite restaurant, the unknown museums. Renting a car and exploring the countryside in a spontaneous that is open to discovery. The art is superior. An awesome selection that shows the breadth and facile charm that attracts me to Steinberg's work.
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