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Julian de Miskey

1898-1976

Julian de Miskey was born in Hungary and emigrated to the United States in 1914. He attended school in Ohio and in 1917 moved to New York, where he studied at the Art Students League. The following year he began contributing to such magazines as Forbes and the Saturday Evening Post.

De Miskey also illustrated and designed covers for a number of books, including Chucaro: Wild Pony of the Pampa, The Prophesies of Nostradamus, The Trouble with Jenny’s Ear, The Great Pearl Secret, Tim’s Mountain, and Piccolo, a children’s book which he both wrote and illustrated. In addition to his work as an illustrator, de Miskey studied sculpture and created stage sets and costume design.

De Miskey worked in a number of different styles including expressionist, non-objective, and cubist-futurist, though his commercial work was more traditional. His sense of humor came across in his work The New Yorker magazine. Writing in the magazine’s December 15, 1997 issue, Lee Lorenz, the New Yorker art editor from 1973-1993 and subsequently its cartoon editor, noted: “Julian de Miskey, the artist who signed his work M, was one of the most prolific and resourceful of the first wave of New Yorker artists. He did spots, cartoon, and covers, and helped create the decorative style of The Talk of the Town…” De Miskey created a total of 62 New Yorker covers, and many cover concepts.

“For over fifty years,” notes critic Carolyn Cotton, “de Miskey worked in the New York art world, interweaving the realms of fine art and illustration. He captured the essence of urban life in his New Yorker covers and cartoons, he ultra elegance of the 1920s in his Art Deco prints, the excitement of modernism in his early oil paintings…he expressed his vision of a life that was both beautiful and poignant.”

De Miskey was a member of the Whitney Studio Club in Manhattan during the 1930's, along with Edward Hopper, Guy Pene du Bois, Mabel Dwight and Leon Kroll. He was also a member of the Woodstock Art Association.

The New Yorker is an American weekly magazine featuring journalism, commentary, criticism, essays, fiction, satire, cartoons, and poetry. Founded as a weekly in 1925, the magazine is published 47 times annually, with five of these issues covering two-week spans. Although its reviews and events listings often focus on the cultural life of New York City, The New Yorker has a wide audience outside New York and is read internationally. It is well known for its illustrated and often topical covers,  its commentaries on popular culture and eccentric American culture, its attention to modern fiction by the inclusion of short stories and literary reviews, its rigorous fact checking and copy editing, its journalism on politics and social issues, and its single-panel cartoons sprinkled throughout each issue.

The New Yorker was founded by Harold Ross and his wife Jane Grant, a New York Times reporter, and debuted on February 21, 1925. Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as Judge, where he had worked, or the old Life. Ross partnered with entrepreneur Raoul H. Fleischmann (who founded the General Baking Company) to establish the F-R Publishing Company. The magazine's first offices were at 25 West 45th Street in Manhattan. Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross declared in a 1925 prospectus for the magazine: "It has announced that it is not edited for the old lady in Dubuque."

Although the magazine never lost its touches of humor, it soon established itself as a pre-eminent forum for serious fiction, essays and journalism. Shortly after the end of World War II, John Hersey's essay Hiroshima filled an entire issue. The magazine has published short stories by many of the most respected writers of the twentieth and twenty-first centuries, including Ann Beattie, Sally Benson, Maeve Brennan, Truman Capote, Rachel Carson, John Cheever, Roald Dahl, Mavis Gallant, Geoffrey Hellman, Ernest Hemingway, Stephen King, Ruth McKenney, John McNulty, Joseph Mitchell, Alice Munro, Haruki Murakami, Vladimir Nabokov, John O'Hara, Dorothy Parker, S.J. Perelman, Philip Roth, George Saunders, J. D. Salinger, Irwin Shaw, James Thurber, John Updike, Eudora Welty, and E. B. White. Publication of Shirley Jackson's "The Lottery" drew more mail than any other story in the magazine's history. In its early decades, the magazine sometimes published two or even three short stories in an issue, but in later years the pace has remained steady at one story per issue.

The non-fiction feature articles (which usually make up the bulk of the magazine's content) cover an eclectic array of topics. Subjects have included eccentric evangelist Creflo Dollar, the different ways in which humans perceive the passage of time, and Münchausen syndrome by proxy.

The magazine is known for its editorial traditions. Under the rubric Profiles, it has published articles about prominent people such as Ernest Hemingway, Henry R. Luce and Marlon Brando, Hollywood restaurateur Michael Romanoff, magician Ricky Jay and mathematicians David and Gregory Chudnovsky. Other enduring features have been "Goings on About Town", a listing of cultural and entertainment events in New York, and "The Talk of the Town", a feuilleton or miscellany of brief pieces—frequently humorous, whimsical or eccentric vignettes of life in New York—written in a breezily light style, although latterly the section often begins with a serious commentary. For many years, newspaper snippets containing amusing errors, unintended meanings or badly mixed metaphors ("Block That Metaphor") have been used as filler items, accompanied by a witty retort. There is no masthead listing the editors and staff. Despite some changes, the magazine has kept much of its traditional appearance over the decades in typography, layout, covers and artwork. The magazine was acquired by Advance Publications, the media company owned by Samuel Irving Newhouse Jr, in 1985, for $200 million when it was earning less than $6 million a year.

Ross was succeeded as editor by William Shawn (1951–87), followed by Robert Gottlieb (1987–92) and Tina Brown (1992–98). The current editor of The New Yorker is David Remnick, who succeeded Brown in July 1998.

Among the important nonfiction authors who began writing for the magazine during Shawn's editorship were Dwight Macdonald, Kenneth Tynan, and Hannah Arendt, whose Eichmann in Jerusalem reportage appeared in the magazine before it was published as a book.

Brown's tenure attracted more controversy than Gottlieb's or even Shawn's, thanks to her high profile (Shawn, by contrast, had been an extremely shy, introverted figure), and to the changes she made to a magazine with a similar look for the previous half-century. She introduced color to the editorial pages (several years before The New York Times) and included photography, with less type on each page and a generally more modern layout. More substantively, she increased the coverage of current events and topics such as celebrities and business tycoons, and placed short pieces throughout "Goings on About Town", including a racy column about nightlife in Manhattan. A letters-to-the-editor page was introduced, and authors' personal bylines were added to their "Talk of the Town" pieces.

Since the late 1990s, The New Yorker has used the Internet to publish current and archived material, and maintains a website with some content from the current issue (plus exclusive web-only content). Subscribers have access to the full current issue online, as well as a complete archive of back issues viewable as they were originally printed. In addition, The New Yorker's cartoons are available for purchase online. A digital archive of back issues from 1925 to April 2008 (representing more than 4,000 issues and half a million pages) has also been issued on DVD-ROMs and on a small portable hard drive. More recently, an iPad version of the current issue of the magazine has been released.

The magazine's editorial staff unionized in 2018 and The New Yorker Union signed their first collective bargaining agreement in 2021.

Influence and significance

The New Yorker influenced a number of similar magazines, including The Brooklynite (1926 to 1930), The Chicagoan (1926 to 1935), and Paris's The Boulevardier (1927 to 1932).

Kurt Vonnegut said that The New Yorker has been an effective instrument for getting a large audience to appreciate modern literature. Vonnegut's 1974 interview with Joe David Bellamy and John Casey contained a discussion of The New Yorker's influence:

[T]he limiting factor [in literature] is the reader. No other art requires the audience to be a performer. You have to count on the reader's being a good performer, and you may write music which he absolutely can't perform—in which case it's a bust. Those writers you mentioned and myself are teaching an audience how to play this kind of music in their heads. It's a learning process, and The New Yorker has been a very good institution of the sort needed. They have a captive audience, and they come out every week, and people finally catch on to Barthelme, for instance, and are able to perform that sort of thing in their heads and enjoy it.

Tom Wolfe wrote about the magazine: "The New Yorker style was one of leisurely meandering understatement, droll when in the humorous mode, tautological and litotical when in the serious mode, constantly amplified, qualified, adumbrated upon, nuanced and renuanced, until the magazine's pale-gray pages became High Baroque triumphs of the relative clause and appository modifier"

Joseph Rosenblum, reviewing Ben Yagoda's About Town, a history of the magazine from 1925 to 1985, wrote, "The New Yorker did create its own universe. As one longtime reader wrote to Yagoda, this was a place 'where Peter DeVries ... [sic] was forever lifting a glass of Piesporter, where Niccolò Tucci (in a plum velvet dinner jacket) flirted in Italian with Muriel Spark, where Nabokov sipped tawny port from a prismatic goblet (while a Red Admirable perched on his pinky), and where John Updike tripped over the master's Swiss shoes, excusing himself charmingly'".

"View of the World" cover

Saul Steinberg created 85 covers and 642 internal drawings and illustrations for the magazine. His most famous work is probably its March 29, 1976, cover, an illustration most often referred to as "View of the World from 9th Avenue", sometimes referred to as "A Parochial New Yorker's View of the World" or "A New Yorker's View of the World", which depicts a map of the world as seen by self-absorbed New Yorkers.

The illustration is split in two, with the bottom half of the image showing Manhattan's 9th Avenue, 10th Avenue, and the Hudson River (appropriately labeled), and the top half depicting the rest of the world. The rest of the United States is the size of the three New York City blocks and is drawn as a square, with a thin brown strip along the Hudson representing "Jersey", the names of five cities (Los Angeles; Washington, D.C.; Las Vegas; Kansas City; and Chicago) and three states (Texas, Utah, and Nebraska) scattered among a few rocks for the United States beyond New Jersey. The Pacific Ocean, perhaps half again as wide as the Hudson, separates the United States from three flattened land masses labeled China, Japan and Russia.

The illustration—humorously depicting New Yorkers' self-image of their place in the world, or perhaps outsiders' view of New Yorkers' self-image—inspired many similar works, including the poster for the 1984 film Moscow on the Hudson; that movie poster led to a lawsuit, Steinberg v. Columbia Pictures Industries, Inc., 663 F. Supp. 706 (S.D.N.Y. 1987), which held that Columbia Pictures violated the copyright that Steinberg held on his work.

The cover was later satirized by Barry Blitt for the cover of The New Yorker on October 6, 2008. The cover featured Sarah Palin looking out of her window seeing only Alaska, with Russia in the far background.

Art Deco, short for the French Arts Décoratifs, and sometimes just called Deco, is a style of visual arts, architecture, and product design, that first appeared in France in the 1910s (just before World War I), and flourished in the United States and Europe during the 1920s and 1930s. Through styling and design of the exterior and interior of anything from large structures to small objects, including how people look (clothing, fashion and jewelry), Art Deco has influenced bridges, buildings (from skyscrapers to cinemas), ships, ocean liners, trains, cars, trucks, buses, furniture, and everyday objects like radios and vacuum cleaners.

It got its name after the 1925 Exposition internationale des arts décoratifs et industriels modernes (International Exhibition of Modern Decorative and Industrial Arts) held in Paris.

Art Deco combined modern styles with fine craftsmanship and rich materials. During its heyday, it represented luxury, glamour, exuberance, and faith in social and technological progress.

From its outset, Art Deco was influenced by the bold geometric forms of Cubism and the Vienna Secession; the bright colours of Fauvism and of the Ballets Russes; the updated craftsmanship of the furniture of the eras of Louis Philippe I and Louis XVI; and the exoticized styles of China, Japan, India, Persia, ancient Egypt and Maya art. It featured rare and expensive materials, such as ebony and ivory, and exquisite craftsmanship. The Empire State Building, Chrysler Building, and other skyscrapers of New York City built during the 1920s and 1930s are monuments to the style.

In the 1930s, during the Great Depression, Art Deco became more subdued. New materials arrived, including chrome plating, stainless steel and plastic. A sleeker form of the style, called Streamline Moderne, appeared in the 1930s, featuring curving forms and smooth, polished surfaces. Art Deco is one of the first truly international styles, but its dominance ended with the beginning of World War II and the rise of the strictly functional and unadorned styles of modern architecture and the International Style of architecture that followed.

Art Deco took its name, short for arts décoratifs, from the Exposition Internationale des Arts Décoratifs et Industriels Modernes held in Paris in 1925, though the diverse styles that characterised it had already appeared in Paris and Brussels before World War I.

Arts décoratifs was first used in France in 1858 in the Bulletin de la Société française de photographie. In 1868, the Le Figaro newspaper used the term objets d'art décoratifs for objects for stage scenery created for the Théâtre de l'Opéra. In 1875, furniture designers, textile, jewellers, glass-workers, and other craftsmen were officially given the status of artists by the French government. In response, the École royale gratuite de dessin (Royal Free School of Design), founded in 1766 under King Louis XVI to train artists and artisans in crafts relating to the fine arts, was renamed the École nationale des arts décoratifs (National School of Decorative Arts). It took its present name, ENSAD (École nationale supérieure des arts décoratifs), in 1927.

At the 1925 Exposition, architect Le Corbusier wrote a series of articles about the exhibition for his magazine L'Esprit Nouveau, under the title "1925 EXPO. ARTS. DÉCO.", which were combined into a book, L'art décoratif d'aujourd'hui (Decorative Art Today). The book was a spirited attack on the excesses of the colourful, lavish objects at the Exposition, and on the idea that practical objects such as furniture should not have any decoration at all; his conclusion was that "Modern decoration has no decoration".

The actual term art déco did not appear in print until 1966, in the title of the first modern exhibition on the subject, held by the Museum of Decorative Arts in Paris, Les Années 25 : Art déco, Bauhaus, Stijl, Esprit nouveau, which covered the variety of major styles in the 1920s and 1930s. The term was then used in a 1966 newspaper article by Hillary Gelson in The Times (London, 12 November), describing the different styles at the exhibit.

Art Deco gained currency as a broadly applied stylistic label in 1968 when historian Bevis Hillier published the first major academic book on it, Art Deco of the 20s and 30s. He noted that the term was already being used by art dealers, and cites The Times (2 November 1966) and an essay named Les Arts Déco in Elle magazine (November 1967) as examples. In 1971, he organized an exhibition at the Minneapolis Institute of Arts, which he details in his book The World of Art Deco.

Society of Decorative Artists (1901–1945)

The emergence of Art Deco was closely connected with the rise in status of decorative artists, who until late in the 19th century were considered simply as artisans. The term arts décoratifs had been invented in 1875, giving the designers of furniture, textiles, and other decoration official status. The Société des artistes décorateurs (Society of Decorative Artists), or SAD, was founded in 1901, and decorative artists were given the same rights of authorship as painters and sculptors. A similar movement developed in Italy. The first international exhibition devoted entirely to the decorative arts, the Esposizione Internazionale d'Arte Decorativa Moderna, was held in Turin in 1902. Several new magazines devoted to decorative arts were founded in Paris, including Arts et décoration and L'Art décoratif moderne. Decorative arts sections were introduced into the annual salons of the Sociéte des artistes français, and later in the Salon d'Automne. French nationalism also played a part in the resurgence of decorative arts, as French designers felt challenged by the increasing exports of less expensive German furnishings. In 1911, SAD proposed a major new international exposition of decorative arts in 1912. No copies of old styles would be permitted, only modern works. The exhibit was postponed until 1914; and then, because of the war, until 1925, when it gave its name to the whole family of styles known as "Déco".

Art Deco was not a single style, but a collection of different and sometimes contradictory styles. In architecture, Art Deco was the successor to and reaction against Art Nouveau, a style which flourished in Europe between 1895 and 1900, and also gradually replaced the Beaux-Arts and neoclassical that were predominant in European and American architecture. In 1905 Eugène Grasset wrote and published Méthode de Composition Ornementale, Éléments Rectilignes, in which he systematically explored the decorative (ornamental) aspects of geometric elements, forms, motifs and their variations, in contrast with (and as a departure from) the undulating Art Nouveau style of Hector Guimard, so popular in Paris a few years earlier. Grasset stressed the principle that various simple geometric shapes like triangles and squares are the basis of all compositional arrangements. The reinforced-concrete buildings of Auguste Perret and Henri Sauvage, and particularly the Théâtre des Champs-Élysées, offered a new form of construction and decoration which was copied worldwide.

In decoration, many different styles were borrowed and used by Art Deco. They included pre-modern art from around the world and observable at the Musée du Louvre, Musée de l'Homme and the Musée national des Arts d'Afrique et d'Océanie. There was also popular interest in archaeology due to excavations at Pompeii, Troy, and the tomb of the 18th dynasty Pharaoh Tutankhamun. Artists and designers integrated motifs from ancient Egypt, Africa, Mesopotamia, Greece, Rome, Asia, Mesoamerica and Oceania with Machine Age elements.

Other styles borrowed included Russian Constructivism and Italian Futurism, as well as Orphism, Functionalism, and Modernism in general. Art Deco also used the clashing colours and designs of Fauvism, notably in the work of Henri Matisse and André Derain, inspired the designs of art deco textiles, wallpaper, and painted ceramics. It took ideas from the high fashion vocabulary of the period, which featured geometric designs, chevrons, zigzags, and stylized bouquets of flowers. It was influenced by discoveries in Egyptology, and growing interest in the Orient and in African art. From 1925 onwards, it was often inspired by a passion for new machines, such as airships, automobiles and ocean liners, and by 1930 this influence resulted in the style called Streamline Moderne.

Art Deco was associated with both luxury and modernity; it combined very expensive materials and exquisite craftsmanship put into modernistic forms. Nothing was cheap about Art Deco: pieces of furniture included ivory and silver inlays, and pieces of Art Deco jewellery combined diamonds with platinum, jade, coral and other precious materials. The style was used to decorate the first-class salons of ocean liners, deluxe trains, and skyscrapers. It was used around the world to decorate the great movie palaces of the late 1920s and 1930s. Later, after the Great Depression, the style changed and became more sober.

A good example of the luxury style of Art Deco is the boudoir of the fashion designer Jeanne Lanvin, designed by Armand-Albert Rateau (1882–1938) made between 1922 and 1925. It was located in her house at 16 rue Barbet de Jouy, in Paris, which was demolished in 1965. The room was reconstructed in the Museum of Decorative Arts in Paris. The walls are covered with moulded lambris below sculpted bas-reliefs in stucco. The alcove is framed with columns of marble on bases and a plinth of sculpted wood. The floor is of white and black marble, and in the cabinets decorative objects are displayed against a background of blue silk. Her bathroom had a tub and washstand made of sienna marble, with a wall of carved stucco and bronze fittings.

By 1928 the style had become more comfortable, with deep leather club chairs. The study designed by the Paris firm of Alavoine for an American businessman in 1928–30, is now in the Brooklyn Museum.

By the 1930s, the style had been somewhat simplified, but it was still extravagant. In 1932 the decorator Paul Ruaud made the Glass Salon for Suzanne Talbot. It featured a serpentine armchair and two tubular armchairs by Eileen Gray, a floor of mat silvered glass slabs, a panel of abstract patterns in silver and black lacquer, and an assortment of animal skins.