Colorado by Louis Bromfield. 1947
Том Ловелл (Tom Lovell; 1909-1997) - американский художник, иллюстратор популярных журналов, живописатель Дикого Запада. Считая себя "рассказчиком с кистью, хранителем прошлого", художник кропотливо изучал и воспроизводил весь исторический антураж с максимальной достоверностью. Мастер композиции и чудесный физиономист он отображал в своих картинах все нюансы человеческих эмоций с переживанием и воображением. Поступательным движением к совершенству и неизменной человечностью, искусство Тома Ловелла в разных жанрах и техниках, лично у меня, вызывает искреннее восхищение. Приведённые здесь иллюстрации, непринуждённо лирические и обаятельные, частью раскрывают пласт творчества художника связанный с публикациями в глянцевых журналах.
Young Man's Fancy by Libbie Block. The American Magazine, v124 n06 [1937-12]
Mother's Help by Margaret Kennedy. Redbook, v070 n03 [1938-01]
Star Bright by Charles Bonner. The American Magazine, v126 n01 [1938-07]
Mrs. Parkington by Louis Bronfield. Cosmopolitan, v113 n02 [1942-08]
Understudy by Mary Hastings Bradley. Cosmopolitan, v114 n03 [1943-03]
Understudy by Mary Hastings Bradley. Cosmopolitan, v114 n04 [1943-04]
Green Eyes by Sinclair Lewis. Cosmopolitan, v115 n03 [1943-09]
The Wisdom of Eve by Mary Orr. Cosmopolitan, v120 n05 [1946-05]
Pickup by John D. MacDonald. Cosmopolitan, v124 n02 [1948-02]
Spring Showing by Sarah-Elizabeth Rodger. The American Magazine, v149 n01 [1950-01]
Dark Lady by Gerda Robison. McCall's Magazine, Apr. 1951
Summer Affair by Wilma Dykeman. The American Magazine, v152 n03 [1951-09]
The Cross-Eyed Cupid by Marjorie Carleton. The American Magazine, v154 n02 [1952-08]
Do You Take This Woman by Margaret Culkin Banning. The American Magazine, v154 n06 [1952-12]
On the Mountain by Mary Jane Rolf. Cosmopolitan, v147 n03 [1959-09]
Assigh by Mary Lavin. Cosmopolitan v148 n01 [1960-01]
Tom Lovell (1909-1997) was an American artist, illustrator for popular magazines, and painter of the American West. Considering himself a “storyteller with a brush, a custodian of the past”, the artist reproduced the entire historical entourage with the utmost authenticity and care. He said “When you’re painting history, it always comes down to fundamentals. Reading is a help. But writers don’t need the depth of information that a painter does. With a few well chosen words, a writer can set the scene, whereas an artist must know the costumes, the weapons, what the interiors looked like, the horse tack – all the thousand things to make it come alive”. A master of composition and a marvelous physiognomist, he displayed in his life-filled paintings all the nuances of human emotion with experience and imagination. The illustrations presented here, effortless lyrical and moderately glamorous, partly reveal the layer of the artist's amazing work associated with publications in glossy magazines.
Дополнительно:
Norman Rockwell Museum Illustration History;
The Brilliant Tom Lovell;
Petroleum Museum: More About Tom Lovell by B.J. Orbeck;
Field Guide to Wild American: Tom Lovell by David Saunders
