Feature article
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Exhibit of renown illustrator Leyendecker set to open
By staff report
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J.C. Leyendecker: America's "Other" Illustrator to open at William King Museum
William King Museum will present J.C. Leyendecker: America’s 'Other' Illustrator, Organized by The Haggin Museum, Stockton, California, scheduled to open September 27 and run through November 22, 2009.
Joseph Christian Leyendecker (1874-1951) may not be as well known as his fellow American illustrator Norman Rockwell, but during his long career his work was some of the most popular of its day. Born at Montabour in Southwest Germany, Leyendecker came to America with his parents in 1882 and settled in Chicago. Recognizing their son’s artistic abilities, his parents allowed him to apprentice at the Chicago engraving house of J. Manz and Company where he eventually advanced to a full-time position as staff artist. At night he would attend classes at the Chicago Art Institute under the direction of John H. Vanderpoel.
In September 1896 Leyendecker left Chicago to study in Paris for two years at the Academie Julian and Colorossi’s, two of that city’s most celebrated art schools. He was accompanied by his younger brother, Frank (1877-1924), who was sent along by their parents not only to study, but also to provide their elder son companionship. The Academie was then under the direction of the famous salon painter Adolphe William Bouguereau (1825-1905). He and two of the school’s most important instructors, Benjamin Constant (1845-1902) and Jean-Paul Laurens (1838-1921), recognized Leyendecker’s talent and gave him special attention. In April of 1897, he was given the opportunity to display a one-man exhibition of his works at the Salon Champs du Mars.
It was along the Parisian streets, ablaze with the vibrant poster art of Jules Cherét (1836-1933), Alphonse Mucha (1860-1939), and Henri de Toulouse Lautrec (1864-1901), that Leyendecker came to the realization that a talented artist could gain both critical acclaim and monetary rewards as a commercial illustrator. It was to that end that he now turned his attention. While still in Paris he began illustrating covers for the Chicago-based magazine, The Inland Printer. Over the next half century he seldom deviated from his decision to pursue a career in commercial art.
The Leyendecker brothers returned to Chicago in the summer of 1897 where they opened a joint studio. The following year J. C. Leyendecker did his first cover artwork for Collier’s magazine; over the next ten years he would produce forty seven more. Just before the turn-of-the-century, he received a commission to produce an image for the cover of The Saturday Evening Post. This rather undistinguished image that illustrated a story on the Spanish American War for the Post’s May 20 issue was the first of 322 covers he would produce for the magazine between 1899 and 1943—more than any other artist, including Norman Rockwell.
Leyendecker’s popularity at the Post was due to his ability to convey the essence of everyday life in America through artwork that reflected his unique sense of drama, romanticism, and humor. Another key to his commercial success was his distinctive style, which combined bright colors with bold, heavy brushwork.
The Leyendecker brothers moved to New York in 1900 and five years later J. C. Leyendecker received what was arguably his most important commission. He was hired by Cluett, Peabody & Company to develop a series of images to help sell its Arrow Brand shirt collars. Leyendecker’s “Arrow Collar Men,” as well as the images he was also soon creating for Kuppenheimer Suits and Interwoven Socks, came to define the fashionable American male during the early decades of the 20th century. The “Arrow Collar Men” received more fan mail from women and young girls than most film and stage actors of the day.
Leyendecker’s models for these images included the likes of Fredric March, Brian Donlevy and Jack Mulhall—all of whom would later gain fame as film stars. His favorite model, however, was Howard Beach, the man who became his life companion. Beach first posed for Leyendecker in 1901 and was the first of his “Arrow Collar Men.” It is interesting to note that the masculine images that inspired such an outpouring of feminine admiration were in fact the product of a gay relationship that lasted 50 years.
Another important commission for Leyendecker was from Kellogg’s, the breakfast food manufacturer. As part of a major advertising campaign, he created a series of 20 “Kellogg’s Kids” to promote Kellogg’s Corn Flakes. These images of babies, small children, and teenagers are as winsome and winning today as when they were created over 90 years ago.
During both world wars, Leyendecker lent his talents to this nation’s war effort. From 1917-19 he created posters to support various war bond drives, promote fuel conservation, and encourage enlistment in the different branches of the armed services. After the United States entered World War II in 1941, he created a series of war bond posters featuring American military leaders.
By the 1940s his popularity had begun to wane. There were the war posters, some calendar illustrations, and cover work for William Randolph Hearst’s American Weekly magazine, but not much else. In 1951, at the age of 77, Leyendecker suffered a heart attack and died at his home/studio in New Rochelle, NY.
The paintings in this exhibition are part of The Haggin Museum’s permanent holdings and represent one of the largest collections of original Leyendecker work in the country. The Leyendecker paintings were assembled in the 1950s by former museum director Earl Rowland following the artist’s death. Miss Augusta Leyendecker (c.1885-1957), the artist’s sister, donated some. Others were given by B. Kuppenheimer & Co., the Interwoven Sock Company, and Kellogg’s. Still others were purchased from the Bordas Gallery in New Rochelle.
This exhibition of paintings, sketches, studies, and associated ephemera provides new generations with the opportunity to experience the artwork that mainstream America took to its heart during the first half of the 20th century.
The showing in Abingdon, Virginia is part of a eight city national tour over a two and a half year period containing approximately fifty paintings and sketches, original magazine covers and advertisements from the collection of the Haggin Museum. The tour was developed and managed by Smith Kramer Fine Art Services, an exhibition tour development company in Kansas City, Missouri.
The Museum will celebrate the opening of the exhibition with A Sunday Afternoon Family Festival on Sept. 27 from 2 to 4 pm. The public is invited to attend, free of charge, and enjoy tours, art projects, food, music and more.
William King Museum is located at 415 Academy Drive in Abingdon.
Admission is $5 for adults, $3 for seniors, members and students are free. Free parking is available and the facility is fully accessible. Hours are 10 a.m. to 9 p.m. Tuesday; 10 a.m. to 5 p.m. Wednesday through Saturday; and 1 to 5 p.m. Sunday. The Museum is closed on Monday and some holidays.
For more information, call the Museum at 276-628-5005 or visit us on the web at williamkingmuseum.org.
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