Word: soglow
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...others contribute articles that would be illuminating anywhere. But, compared to the flickering literary illumination, it is the 140 pictures that shed real light. The 100 artist contributors make an almost perfect score of hits in the great game called "Understanding America." Drawings by Peter Arno, Otto Soglow, other New Yorker artists; photographs by Margaret Bourke-White, Anton Bruehl; paintings by George Bellows, Charles Sheeler, Georgia O'Keefe, Morris Kantor, Charles Burchfield et al. are intermingled with sculptural figures, early American paintings to make a vivid tout ensemble...
...discovery that it's smart to be bawdy may possibly be credited to magazine artists of the Arno-Soglow-Klein-Steig school. In The New Yorker their drawings are politely risque. In published albums (like Stag at Eve) they are elegantly ribald. From its first issue last summer Ballyhoo capitalized the discovery that smut, when smart, could tap an unashamed market. It based its appeal chiefly upon the business of making fun of the advertising business, but knew and pursued the sale value of scatology...
With permission already granted to reproduce any clipping from the magazine that he wants, Dr. Wells will soon be illustrating his lectures with lantern slides of drawings by Peter Arno, I. Klein, and Otto Soglow. At present Dr. Wells has some 30 odd cartoons which have been carefully selected to explain to his class various psychological reactions in the easiest and quickest manner possible...
...Otto) Soglow is small and shy. He is a New Yorker born and bred, still in his so's. The city gave him odd jobs to do and odd sights to see. There was drabness on one hand, pomp on the other. Mr. Soglow grew with the former, protected by a wise detachment. Determined to study painting, he attended the Art Students' League of New York, where fundamentals are taught proficiently and inexpensively. There John Sloan was his teacher...
...Soglow ambitions are modest. He confines himself to vignettes. Sometimes they are smokily morbid, but the artist is more often impelled to bitter Hogarthian humor. As a regular contributor to the New Masses, he was (in the March issue) allowed to lampoon the staff of that earnest, proletarian monthly as a ridiculous, sour and impoverished quartet, weary of life and thought. O. Soglow is a signature frequently seen also in the blithely capitalistic New Yorker. There he is the Harpo Marx of art, maintaining a pungent silence with untitled comic strip exercises in pantomime, often verging on the vulgar. Recently...