Just three more from Mitch Itkowitz's great new book dedicated to the work of this remarkable illustrator to be found at Graphic Collectibles. The following images are reproduced here with permission.
Click on each image to enlarge it.
This is a page from an issue Collier's in the 1940s. Look at how carefully Hurst has deliniated the taxi cab. It's a 1940 Plymouth, which was in use at the time, and not some hybrid he dashed off in an attempt to speed up the job and get it off his drawing board. The characters are more cartoony than usual.
A cover from Saturday Home in 1949. Look at those hands and how beautifully he has done them without a trace of overwork. Proof of an illustrator who knows how to draw without slavish resort to photos.
Another cover from an issue of Saturday Home in the 1940s. There is glamor in this cover and and every bit as good as that seen in the haughty covers of the fashion magazines of the times.
This is the new book, the only book that I know of, dedicated entirely to the work of this talented illustrator and a long-time favorite of mine. Thanks to Mitch Itkowitz of Graphic Collectibles for making this title available to us. All of the following images, except for the black-and-white sketch page, are reproduced here with permission.
Cover for Saturday Home Magazine of 25 January 1947. His work for this publication consisted mostly of close-ups and what were called "clinches" in those days.
Some guys can draw faces, others concentrate on figures, backgrounds, whatever. Hurst could do it all. This is a cover for the 24 January 1948 issue of Collier's that shows him at his prime in his 53rd year.
I'm indebted to cartoonist Gene Byrnes and his book A Complete Guide to Professional Cartooning copyright 1950, for this page showing Hurst's warm-up sketches for the Collier's cover that appears below. Hurst is quoted: "Learning to draw is easy. Any art school can do a fair job. It's learning to think that's important. Ask yourself: 'What's it for?' 'Whom is it going to appeal to -- men, women or children?' 'What kind of people -- hillbilly or Park Avene dwellers?' "How is it going to be reproduced and on what kind of stock and paper?' "
This would be as good a time as any to explain the difference between Collier's and The Saturday Evening Post. One was lively, the other stodgy. The flow of ad revenues from major print to television caused both of these weeklies to fold, so it had little to do with their content. Hurst could not have sold a cover to the Post anymore than Norman Rockwell would ever have appeared in Collier's. Different strokes for different folks.
Collier's for 26 June 1948, and one of Hurst's very best covers. He's taken great liberties with her waist but it doesn't hurt the illustration or lessen the impact of the cover, which is what was required for impulsive newsstand sales.