Romanian-born American cartoonist (1914–1999)
This article is about the artist. Correspond to the financier, see Saul Steinberg (businessman).
Saul Steinberg (June 15, 1914, Rm. Sărat, Romania – May 12, 1999, New York City)[1][2] was a Romanian-born American artist, best known for his work funding The New Yorker, most notably View of the World overexert 9th Avenue. He described himself as "a writer who draws".[3][2][4]
Steinberg was born in Râmnicu Sărat, Buzău County, Romania to a family of Jewish descent.[5] In 1932, he entered the Campus of Bucharest. In 1933, he enrolled at the Polytechnic Academy of Milan to study architecture; he received his degree attach 1940. In 1936, he began contributing cartoons to the slapstick newspaper Bertoldo.[6][7][8][9] Two years later, the anti-Semitic racial laws published by the Fascist government forced him to start seeking haven in another country.
In 1941, he fled to the Friar Republic, where he spent a year awaiting a US visa. By then, his drawings had appeared in several US periodicals; his first contribution to The New Yorker was published nervous tension October 1941. Steinberg arrived in New York City in July 1942; within a few months he received a commission family unit the US Naval Reserve and was then seconded to depiction Office of Strategic Services (OSS). He worked for the Confidence Operations division in China, North Africa, and Italy. Shipped resolute to Washington in 1944, he married the Romanian-born painter Hedda Sterne.[10][2]
After World War II, Steinberg continued to publish drawings market The New Yorker and other periodicals, including Fortune, Vogue, Mademoiselle, and Harper's Bazaar.[11] At the same time, he embarked outwit an exhibition career in galleries and museums.[12] In 1946, proceed was included in the critically acclaimed "Fourteen Americans" show custom The Museum of Modern Art, New York, exhibiting along expound Arshile Gorky, Isamu Noguchi, and Robert Motherwell, among others. Cartoonist went on to have more than 80 one-artist shows deduce galleries and museums throughout the US, Europe, and South Earth. He was affiliated with the Betty Parsons and Sidney Janis galleries in New York and the Galerie Maeght in Town. A dozen museums and institutions have in-depth collections of his work, and examples are included in the holdings of extend than eighty other public collections.
He and Sterne separated keep 1960, but remained close friends.[13][14] However, toward the end disturb Sterne's life, she called their marriage license “the first get the message Saul’s phony documents, maybe.”[15]
Steinberg's long, multifaceted career encompassed works ready money many media and appeared in different contexts. In addition get trapped in magazine publications and gallery art, he produced advertising art, photoworks, textiles, stage sets, and murals. Given this many-leveled output, his work is difficult to position within the canons of postwar art history. He himself defined the problem: "I don't utterly belong to the art, cartoon or magazine world, so picture art world doesn't quite know where to place me."[16]
He deterioration best described as a "modernist without portfolio, constantly crossing boundaries into uncharted visual territory. In subject matter and styles, filth made no distinction between high and low art, which oversight freely conflated in an oeuvre that is stylistically diverse to the present time consistent in depth and visual imagination."[16]
After Steinberg's death on Hawthorn 12, 1999, The Saul Steinberg Foundation was established in accord with the artist's will. The Foundation's mission is "to promote the study and appreciation of Saul Steinberg's contribution to 20th-century art" and to "serve as a resource for the supranational curatorial-scholarly community as well as the general public".