Friday, October 17, 2008
Imitation, Influence... and Coincidence: online tour
Display case 1 (Brandt)
Title: The Road To Wigan Pier
Author: George Orwell
Publisher: Harvest/HBJ Books 1958
Designer / Illustrator: John Alcorn
The inspirational source for the cover of Karen Robards' steamy thriller Bait is not as obvious. Seen next to Nude, London 1952, one of Brandt's most popular and widely-reproduced images, there does seem to be a similarity, but is it a case of influence or merely coincidence? Photographers do, after all, look at each others work, and can't help having their vision shaped by the icons of photo history. And if the resemblance is coincidental, just what is it about the combination of raking side-light and the undulating crook of the subject's arm that made both photographers trip the shutter?
Display case 2 (Kertész, Abbott, Smith)
Three cover illustrations and the photographs from which they are derived:
For the 1964 paperback edition of Colette's novel, The Shackle, illustrator Jacqueline Schuman has produced a line drawing based on André Kertész's 1915 photograph Lovers, Budapest. Schuman (who has illustrated scores of book covers, including Violette Leduc's in the next display case) has here adopted a drawing style somewhat reminiscent of Jean Cocteau, a friend and contemporary of Colette.
Title: The Shackle
Author: Colette
Publisher: Noonday (Farrar, Straus & Giroux) 1976
Designer / Illustrator: Jacqueline Schuman
The Arrow softcover of The Big Kiss-Off of 1944 cribs storefront, barber pole and sign from Berenice Abbott's Blossom Restaurant, 103 Bowery, Manhattan, October 24, 1935. The two figures in the cover artwork have been imported from elsewhere.
Title: The Big Kiss-Off Of 1944
Author: Andrew Bergman
Publisher: Arrow Books 1976
Designer / Illustrator: Not listed
Finally, another edition of Orwell's The Road to Wigan Pier (see previous display case for the first copy). The source for this edition's cover artwork is documentary photographer W. Eugene Smith's 1950 image, Three Generations of Welsh Miners. In the drawing, however, one generation has been removed, and the row houses in the background have been replaced by factory smokestacks.
Title: The Road To Wigan Pier
Author: George Orwell
Publisher: Harvest (Harcourt Brace Jovanovitch, Inc.)
Designer / Illustrator: Hal Siegal
Display case 3 (Brassai, Sander)
Two covers based on photographs by the Hungarian-born, Paris-based Brassai:
The Fat Woman's Joke, Fay Weldon's novel about female stereotypes and body image employs a painted illustration taken from Brassai's Streetwalker Near the Place d’Italie (ca.1932).
Nadine Michi is listed as the designer for this cover, but the artwork is uncredited.
Title: The Fat Woman’s Joke
Author: Fay Weldon
Publisher: Academy Chicago Publishers 1986
Designer / Illustrator: Nadine Michl
The cover for Violette Leduc's bestselling memoir, La Bâtarde presents a more intriguing case since, unlike the Weldon illustration, it is not a direct copy. Rather, Jacqueiline Schuman has taken the woman from Brassai's Lovers Quarrel, 1936, opened her eyes, removed the curl from her forehead and given her bangs. The right-hand image above the books shows a composite of the Schuman's cover illustration and Brassai's original:
Title: La Batarde
Author: Violette Leduc
Publisher: Farrar, Straus & Giroux 1976
Designer / Illustrator: Jacqueline Schuman
For the cover of Yael Dayan's fourth book, Death Had Two Sons, the legendary designer and illustrator Milton Glaser has drawn a loosely interpretive facsimile of Widower, 1914, one of the best known portraits from August Sander's landmark publication, Menschen Des 20.Jahrhunderts. As psychologically complex as it is visually straightforward, Widower depicts a middle-class, middle-aged German man and, presumably, his two sons. In contrast to their father's rotund physique, both boys are thin, forlorn and pale to the point of anemia. In Sander's photograph, the man is looking toward the taller boy, while the other, ignored, turns his hopeless gaze to the camera.
The image is a good choice for Dayan's novel, which tells the story of a man forced by the Nazis to choose the life of one of his sons over the other. Glaser has taken artistic license, however, by making the father thinner and more aristocratic. Additionally, and more important, the subtleties of interaction and expression are lost, and the personalities of all three individuals have virtually disappeared. In reducing the specificity of the photograph, Glaser's drawing has also taken away much of it's life.
Title: Death Had Two Sons
Author: Yael Dayan
Publisher: McGraw-Hill 1967
Designer / Illustrator: Milton Glaser
Display case 4 (Evans, Lange)
Display case 5 (Wulz, Blumenfeld, Steichen)
Italian artist Wanda Wulz, known primarily for 1932 photomontage Cat and I, clearly the inspiration for Lester Krauss' cover photograph for Florence Stevenson's novel,
Ophelia.
Title: Ophelia
Author: Florence Stevenson
Publisher: New American Library 1968
Designer / Illustrator: Lester Krauss
Erwin Blumenfeld's stylized Surrealist simplification of a woman's face to a single mascara'd eye and painted pair of lips captivated the fashion world in 1950 when it appeared on the cover of Vogue's January issue. The picture was a product of it's time (a number of photographers had been using high contrast imagery in their fashion work; Irving Penn, Richard Avedon and William Klein, to name several), but it may have had an impact on the world of book cover illustration as well. That same year, for example, William Morrow first published The Case of the One-Eyed Witness, a Perry Mason thriller by Erle Stanley Gardner. Five years later, Blumenfeld left Vogue, and Pocket Books reissued One-Eyed Witness in paper with a cover illustration by James Meese that looks startlingly familiar.
While there is no connection between Blumenfeld's exit from Vogue and the release of the Perry Mason paperback, there may be a trail of influence leading from Blumenfeld's photograph to Meese's illustration. Or, it may simply be a striking coincidence. A third possibility is that both were influenced by an even earlier image, done by someone else.
Regardless of it's provenance, the woman's face, whited-out but for eye and lips, has figured a number of times over the years as a motif for covers of mass-market books involving sexy dames with a taste for danger.
Title: The Case of the One-Eyed Witness
Author: Erle Stanley Gardner
Publisher: Pocket Books 1955 (1st ed 1950)
Designer / Illustrator: James Meese
One might be justified in wondering if the photographer for J. Randy Taraborrelli's 'unauthorized' biography of Diana Ross, or even Miss Ross herself, had Edward Steichen's classic 1928 portrait of Greta Garbo in mind when shooting the cover image. It is not necessarily out of character for a celebrity with Ross' public persona and temperament to want to emulate a diva from a bygone era.
Title: Call Her Miss Ross
Author: J. Randy Taraborrelli
Publisher: Birch Lane Press 1989
Designer / Illustrator: Steven Bower
Hand Tinting: Joanie Schwarz
Photographer: Wide World Media
Display case 6 (Stieglitz, Cartier-Bresson, Lange)
The resemblance of the pictures on these three book covers to their 'source' images seems to hover between the spheres of 'influence' and 'coincidence'. Certainly there exists a visual correspondence in all three cases: The cover image of The Mammoth Book of Erotica calls to mind Nude, 1919, part of Alfred Stieglitz's collective portrait of the painter (and his wife) Georgia O'Keeffe. The young woman sitting with legs crossed in Binnie Kirshenbaum's novel Hester Among The Ruins is reminiscent of Henri Cartier-Bresson's 1968 portrait of the photographer (and his wife) Martine Franck. Finally, the image on the cover of Bear Me Safely Over has a strong similarity to Dorothea Lange's 1958 image of a priest's feet in Burma.
Were the the photographers who made the cover images influenced by Stieglitz, Cartier-Bresson or Lange? Or are the subject's poses archetype, appearing in the visual arts long before the invention of photography?
Title: The Mammoth Book of Erotica
Author: Maxim Jakubowski
Publisher: Carroll & Graf 1994
Designer / Illustrator: Not listed
Title: Hester Among the Ruins
Author: Binnie Kirshenbaum
Publisher: W.W. Norton & Company 2002
Designer / Illustrator: Julie Metx
Photographer: Gary Isaacs
Title: Bear Me Safely Over
Author: Sheri Joseph
Publisher: Atlantic Monthly Press 2002
Designer / Illustrator: Not listed
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