Saul Steinberg photo by 1958 Allegory 1963 Lest

Saul Steinberg photo by 1958

Allegory 1963

Lest one think that such grandiose claims are overreaching for a mere "doodler, " I leave the final word to the man himself. His 1963 Allegory, appearing exactly at the midpoint of the Morgan installation, cites the form of a didactic medieval woodcut. On the left, laid on the earth, we find objects representing the things of this world -- knowledge, art, love, military glory, sexual desire and death. On the opposite side of the page is a floating island with a palm tree, representing utopia.

Untitled, 1962

Between the two extremes stand three towers, representing the attempts of various civilizations to bridge the gap. The U. S. is represented by Uncle Sam scaling a ladder (of success, presumably) that leads to some skyscrapers in the clouds. The construction is turned decisively towards the side of material things, not particularly concerned with utopia.

Next, there is a monument representing French civilization. Cradle of utopian thinking that it is, it faces the ideal. The tower is marked with dates representing the various years in France’s turbulent revolutionary history -- 1789, 1848, 1871 -- and climbs towards the sky as if to provide a way to make the leap to the island. The sequence, however, yields only a military figure on horseback turned upside-down -- the old order, upset, but still intact.

A third and final tower represents Russia. It is formed of a spreading tree, cradling a Dostoevskian dandy in one branch, a bird with a crown representing the Czar in a second, and the bearded couple of Marx and Engels in a third (Engels gestures at nearby France as a revolutionary example). From the highest branch of the tree spring royal turrets, and a crowd of tiny workers who seem to have stormed the castle and stream along a bridge towards utopia. .

A Steinbergian view of women: “Three Liberties” (1951 -53).

Group Photo 1953 Collection of Richard and Ronay Menschel

Artists and War, 1969. Rubber stamp, pencil, and colored pencil on paper. The Saul Steinberg Foundation.

WHO DID IT? – סטיינברג של הגדולה השאלה Saul Steinberg, "The Inspector", Thames and Hudson, London 1973

The West Side 1973 Saul Steinberg Foundation

Paris, 1984. . Paris is reduced to the flowery curves of an Art Nouveau Métro station and triangular-plan buildings that mark out wishfully broadened and empty vistas. With no cars in sight and pedestrians confined to the sidewalks, Steinberg’s Paris emerges as an idealized city seen through its urban architectural styles.

Las Vegas, 1985. . Style and content are coincident in Las Vegas, crayoned in a casino’s garish hues and frenetic barrage of forms. The gambling woman, nearly all head and pocketbook, hits the jackpot at a slot machine. Her prize, however, is not money or chips but geometric shapes, while the symbols on the machine are as juvenile as the dream of instant riches.

Canal Street, 1988. Felt-tip marker on three sheets of paper, 15 x 22". Institut Valencià d'Art Modern, Spain. The multiplicity of graphic styles can also carry meaning, as in Canal Street, where the congestion of one of New York’s busiest thoroughfares becomes a congestion of linear modes-scribbled cars and stick-figure crowds flanked by spiky, pseudo-Cubist architectural implosions; in the background, a pair of ominous, heavily cross-hatched skyscrapers close off the street.

Saul Steinberg’s The Americans A colossal mural-collage over seventy meters long made for the U. S. pavilion at the 1958 Brussel’s World’s Fair, is being exhibited by the Museum Ludwig in its complete state for the first time since the Fair closed. For the U. S. pavilion at Expo 58—the first world’s fair to be mounted after World War II, which was shaped by the Cold War rivalry between the U. S. and Soviet pavilions—Steinberg created a monumental mural-collage consisting of eight panels with a total length of over seventy meters. A view of Steinberg’s murals installed in Edward Durell Stone’s structure for the American Pavilion at Expo 1958, Brussels

Saul Steinberg during the set-up of the exhibition at the American Pavilion of Expo 58, Brussels 1958.

They present a panorama of everyday life in America, ranging from the hustle and bustle of the big city to the apparently idyllic world of rural communities. An array of collaged human figures dominates the foregrounds, sometimes singly, sometimes densely packed, often against a background of enlarged photographs of drawings. The figures testify to Steinberg’s assimilation of a wide range of artistic influences and to his creative engagement with a variety of media and materials, including drawing, photography, wallpaper, packing paper, and comics. His view of the American way of life, though affectionately humorous, does not exclude its darker aspects. He looks at the United States with the fresh eyes of an immigrant, observing and registering phenomena like the postwar automobile culture and urban development, but also the culture of corporate conformity and a sociological sense of alienation.

At the Museum Ludwig, Cologne (March 23 -June 23, 2013), Steinberg's colossal mural-collage, made for the US Pavilion at the 1958 Brussels World's Fair, can be seen in its entirety for the first time in nearly 60 years. The 8 -section mural, with a total length of 240 feet, presents a panorama of American life as seen through Steinberg's inventive eye. From the teeming big city to farmland, from baseball to cocktail parties, the collaged figures reveal the artist's engagement with his adopted country and the art of his time.

"The Americans" Downtown – Big City Collage of cut or wrapped out wrapping paper, wax crayon, pastel, India ink on printed photo-paper, glued on cardboard and attached on double-thick. Triplex-plate

"The Americans" California, Florida and Texas, detail

"The Americans" Drugstore – Small Town

"The Americans" Baseball

Untitled [Four Cats], 1950 Gelatin silver print 25, 4 x 22, 9 cm The

Saul Steinberg ‘View of New York from 9 th Ave’ print skirt

: מקורות http: //www. saulsteinbergfoundation. org/life_work. html http: //en. wikipedia. org/wiki/Saul_Steinberg http: //www. newyorker. -saul-steinbergshttps: //illustrators. d 3. ru/comments/514154/ https: //en. wikipedia. org/wiki/Saul_Steinberg https: //kavimvenekudot. wordpress. com/2013/02/12/ http: //www. adambaumgoldgallery. com https: //vimeo. com/65303821 http: //www. economist. com/node/13326106 https: //www. tumblr. com/search/saul- ואפרים קלריטה : שלנו לאתר להיכנס מוזמנים הנכם www. clarita-efraim. com לתגובות נשמח