This Just In: Big Time Newspaper Says it's OK to Love Pulp Art!

Photo courtesy of Marilynn K. Yee/The New York Times

Ok, let's see how long I'm allowed to let this photo stay up before some big-time lawyer demands it removed. But since this site warrants nary a single blip even on the periphery of the big radar screen of blogdom, maybe we'll manage to fly off into the sunset undetected.

Anyhow...in today's edition of the New York Times there's an interesting review of a new show at  the Museum of American Illustration at the Society of Illustrators featuring Robert Lesser's pulp painting collection.  It's a nice follow-up and high society validation of  what we have known all along, namely that it really is ok to love pulp art.  Indeed, the article acknowledges how pulp art resonates with both historic and modern cultural themes.

Coming soon: The final fate of a long lost Bolles girl.

July 8: Today is Collector Car Appreciation day

This cover from a 1927 issue of Film Fun is the not simply the sole example featuring an automobile, as far as I know it's the only car illustration in any of the roughly 500 covers he painted.  I do have one really great example from a clothing advertisement (I'm saving it for the book) and there is the all-important motorcycle cover, but given Bolles capacity to render things mechanical, it's curious he didn't do more of this for the myriad of automobile products that were extensively advertised back in his day.  Or perhaps he did. Within the past month I've found two Bolles advertisements for products I had no idea he was affiliated with, so maybe there's example or two out there yet to be found.

Christmas in July

Unfortunately I'll be away from the blog the next few weeks but I'll be returning baring gifts, and they won't be dad's ties recycled from last year either.  There will be a fabulous full color advertising illustration circa 1923, a long-lost Bolles Film Fun painting finally surfaces and I'll be there to report on it first hand. Last but not least will be a never before seen original Bolles.  Yes, it will be Christmas in July and I can't wait to unwrap the presents.

Why We Love (some) Pulp Art

The new post on Illustration Art, a provocative and free ranging site pecked over the question whether it was ok to like pulp art as in a guilty pleasure? Or should praise be reserved for efforts which provide emotional and intellectual stimulation of a higher order, say above the limbic system? The set-up is a straw man argument. It's like asking someone if she loves candy.  Answer: "Yes". "So does that include both Atomic Fireballs and Pierre Marcolini truffles?"  It seems unfair and even pointless to compare works of high art (in the 1920’s it was oddly referred to as ‘art-art’) with illustration art completed under brutal deadlines according to the dictates of an art director for an abhorrent assignment (a spicy horror story) in a highly competitive market where the final product is almost guaranteed to be poorly reproduced.  Funny thing about this, it wasn’t uncommon for the stories to be assigned to follow the art. I remember hearing Hugh Cave, the incredibly prolific pulp writer recount having been assigned to write a story based on a painting of a creepy goon sliding a body into a roaring furnace. He titled the story: “This is how we bake our dead!”

During the early days of the Golden Age of illustration there raged a similar debate about the merits of commercial art, but it pivoted on advertising art versus fine art. Ad companies contributed countless screeds to trade magazines such as The Inland Printer and The Poster advocating the virtues of advertising illustration, professing it was equal to—both in technique and emotional reward--classic examples of fine art. Yet to hedge their bets companies like Consolidated Sign of New York would occasionally blow up famous artworks and paste them on billboards, perhaps both to provide the public a visual breather and serve as a not very subtle art “lesson” (“Was that a Rembrandt or a Leyendecker I saw at 14th and Broadway?”). Those illustrators who felt maligned to be stamped as commercial artists sought upward mobility through the respectable escape-hatch of salon portraiture.

True enough, many pulp illustrators were not the most gifted of artists and some were downright hacks, but there were unsung talents who did with what they had to make ends meet. Consider that they toiled during the depression with poor pay among fierce competition over a shrinking market, while photography was inexorably shoving illustration art further into the margins. Many pulp artists, including Bolles--who was raising a family of seven children--had to produce three or four covers a month to stay afloat. Hugh Ward, one of the artists featured in the Illustration Art piece, was getting $50 a painting for some of his covers, and sometimes had to wait months for the check (this Ward painting recently sold at auction for over $143,000). I’m no fan of his Spicy Horror work, in no small part because he was too good at what he did. No artist was more effective at depicting sheer terror and menacing miscreants. His originals in my view are a bit disappointing; they look unfinished and even a bit rushed. But Ward knew precisely how they would look on the newsstand and he wasn’t about to waste an extra stroke on a detail that wouldn’t show. He also realized many of his paintings would end up printed in only three colors and I think he altered his pallet to exploit the atmospheric effect he could exploit by his knowledge of printing. In contrast, some of his art for Tattle Tales was surprisingly relaxed and naturalistic. There’s none of the sexual edginess or voyeurism so typical of that genre in this fabulous cover. Norman Saunders is another artist who comes to mind. His work for the smooshes was as flagrant—meaning successful---as any artist but he was amazingly adept at all the genres, westerns, war stories, adventure, sports, men’s mags and later gum cards including the cult favorite Wacky Packages. Was there any commercial artist who covered as much territory so competently? And then there was Earle Bergey, whose painting was featured at the beginning of the Illustration Art post. He was another artist comfortable with crossing genres who pretty much was the master of the science fiction universe throughout the 1940s and 50s. You might call his work clichéd but that would be wrong, the clichés came later from artists who borrowed or reworked his ideas to death. Bergey was also one of the few pulp artists to make the slicks, not just any fancy mag but the Saturday Evening Post.

So what about Bolles? His work could be charged with the typical crimes of other pulp artists. His rap sheet would include colors straight out of a gumball machine, overripe girls in the barest of coverings, simple compositions that appeared again and again, as well as poses and set-ups that dug deep into the threadworn grab bag of pinup clichés. I feel no need to defend his talent, imagination or originality here. Like other pulp artists he was far more adept than he gets credited for, and his work wasn’t limited to pulps and Film Fun. Bolles did illustrations for movies, travel posters, and produced scores of advertising art for major companies who also hired famous names such as Rockwell, Barclay, and Wyeth. And once and a while he produced work that transcended the base aspects of the pulp genre. As evidence, here appears what I feel is Bolles pulp masterpiece, a cover that appeared on the cover of a 1933 issue of Bedtime Stories, a notorious under the counter eventually hounded into extinction by the decency leagues and vice cops. Bolles probably made no more than $75 for this painting and assuredly was given a free hand to paint what he wanted. I very much doubt that the publisher, Henry Marcus came up with the idea of putting infamous women of the ages on the cover and even if he did, he likely had little of guidance to provide to Bolles the polymath. I’ve commented before about how oddly passive many of the expressions on these covers are but this one is entirely different. I can’t find any example of what was to be labeled pinup either before or after of a girl who expressed not mirth, embarrassment or even boredom, but menace laced with contempt?  Is this any way to sell a magazine?  Take a look at the Armstrong version. Technically it’s amazing, especially the treatment of the charger. The Bolles version of Salome is so removed from Armstrong's rendition that it would be easy to conclude they read different "books".  Not that they didn't have other battles over territory (another story).

Finally, what are we to make of Bolles? What would motivate an artist who likely didn’t earn a nickel more than $75 for a painting he didn’t dare sign or put himself at risk for merely trying to purchase a copy.  Whatever provoked him to produce a work of such complex malevolence for a trashy magazine whose editor would be pleased by virtually any display of reasonably rendered flesh?

June 8 is Upsy Daisy Day

There's been a lot of traffic on the site the past couple of days and I thought it only appropriate to do what I could to help keep it flowing.  So we are celebrating Upsy Daisy day with a very apropos original image by Bolles, painted for a 1937 issue of Breezy Stories.  The original painting is available (Disclaimer: I have no affiliation with the vendor). 

Bolles incorporated flowers into many of his paintings, sometimes for their symbolic value and in other cases to add a bit of visual trickery.  Take a look at the 1936 Gay Parisienne to your right and what you may initially perceive as a strategically (or not so, depending on your perspective) placed hole in her swimsuit is actually part of a floral motif.  Pretty tricky and perhaps more significant, a very early depiction of a bikini.

May 23 is World Turtle Day

You have to wonder how Bolles pitched the concept for this cover to Harry Donenfeld, the publisher of Gay Parisienne.  Sure, there would be the pretty girl as always, but why not add an animal? Not a cute puppy or pony; that angle worked like a sort of innocence pass that let the artist forego clothes on the girl (think Mabel Rollins Harris).  No, let's make it an aquatic reptile. Granted, Bolles did throw in some odd props on a few other Gay Parisienne  covers, including a tuba!  And you have to give him points for a girl wearing a bikini long before you'd see a suit at the beach that revealed anywhere near that much acreage.  The turtle, which I'm guessing is a Hawksbill, also seems quite content.  So, no blow-back from decency societies specializing in protecting wildlife from abusive pinups.     


Still, I just don't get it. Gay Parisienne was one of the hottest of all the so-called smoosh mags and the decency leagues stalked it like Clyde Beatty on the trail after big game. This oddball cover from 1936 just doesn't jibe with the magazine's notorious reputation, its pulpy pages chock-full of raunchy novels, dirty drawings and photos of naked girls.  It got Donenfeld hauled into court so many times he ended buying his way up a notch in the publishing hierachy, buying out National Allied Publications, after first suing them for nonpayment.  By May  1938 is pulps, Gay Parisienne and Spicy Stories were out of circulation, while at the same time  Donenfeld published the first Superman story in Action Comics.  Breezy Stories began recycling Bolles covers and his last new cover painting was for the June issue. 

For the first time in his career, Bolles was down to just one magazine, and a mere  two months later Film Fun had a new cover artist, Albert Fisher.  The Bolles girl, who made her debut in 1914 and who had been adorning three to five magazine covers a month for nearly a decade, was gone.  

May Day is Lei Day!

I kid you not, May 1 is also officially known as Lei Day.  There was no way I could let this holiday pass without a Bolles and it was a lot of fun perusing covers for just the right example.  I've pretty much left this cover to the a 1931 issue of Hollywood Nights intact in its well-thumbed state.  For some reason I feel the wear adds something to it. 

Bolles did only a handful of covers for this magazine and others titles published by Henry Marcus' Follywood Publications. Among them are his only examples of pen and ink cover art out of the over 500 he created,  and this is one of his best. He would have been lucky to earn $40 for it. 

Hollywood Nights didn't last long; the combination of poor finances and the constant pursuit of the decency leagues would put Marcus out of business by the end of year.  But in the 1930s you couldn't put a good smoosh mag publisher down for long and by 1933 Marcus was back at it with a new publishing company  and new titles: Stolen Sweets, Tattle Tales, Bedtime Stories and Cupid's Capers.   Bolles teamed up with him again and produced the most provocative pulp covers ever printed (aside from Hugh Ward's sex-and--violence mash-ups, but they constitute an entirely different category).  They were successful, too successful. The Marcus lineup rose to the top (or sunk to the bottom, depending on your perspective) of the smoosh mag hit parade, and in the process became the equivalent of public enemy number-one for the New York vice cops and decency leagues.  Marcus would be out of business-again-before the end of 1934.  By then Bolles had moved on to another publisher.