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THE GOLDEN AGE OF


ttl- BOOK ONE

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0 T li E T I o_u
FETISH & BIZA RR E
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0 T li E T 1 o_u
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FETISH & BIZARRE
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Jar Soplzislica!ed
collectors o/ !lze
Zlnusual
THE GOLDEN AGE OF

tn-
BOOK ONE

Text by
Alberto Becattini

GLITTERING
IMAGES
edizio ni d 'essai
Above: Gil Elvgren, plate from his 1952 Brown & Bigelow calendar. Gag: «I'm not shy. I'm just retiring." © Brown & Bigelow
Half·tltle page: Original cover art by Peter Driben for Whisper magazine. Vol. 5 # 3, November 1951 .
Counter-frontispiece: Pin-up by Joyce Ballantyne, ca. 1958.
Frontispiece: Sunny Side Up. Pin-up by Gil Eivgren. © Brown & Bigelow
oppure oggetti di vario generc (i quali ab- trano dunque- a nostro parere - nell'or-
biano, se possibile, connotazioni falliche). todossla de lle pin-ups anc he queUe imma-
Noi non c i sentiamo di csserc cos! cate- gini chc-una volta estrapola te dal medium
gorici, e ritcniamo o u im i esempi di pin-up c ui era no state in originedcstinate (lacoper-
art anche le immag ini "contestualizzate" tina di un libro, per cscmpio, oppure di un
(accompag nate, cioe, da un background e/o alboa fumetti)- possanocsscrc tranquilla-
dalla prescnza di un personaggio maschile), me nte appuntate ad una parctc, magari al-
purche l'ele me nto fc mminile ne resti indi- l'inremo di un'elcgante cornice.
scusso protagonista e conservi il carisma e In q ues to volume c i propon iamo di tracciare
he cos'e lapin-up art? Prendendo il Ia sensualita di c ui s i diceva sopra. Rien- un'agi le storia della pin-up art negli Stati

C tennine alta lettera, dovrebbe far


parte a buon diritto di questo ambi-
toartistico ogni immagine femminile dipin-
U niti, con un accento particolarc sui suoi
"anni d'oro", idcntificabili con il periodo
c hc va dal 1940 ai primi anni '60. Parlere mo
ra (con tecniche c he vanno dal pastello alia di riviste, calcndari, paperbacks, c soprat-
te mpera, dall'acqucrcllo all'olio) concepita tullo ricorde re mo i princ ipali autori che
peressereappesa al muro- come un poster, rive rsaro no gran parte del !oro tale nto in
dunque, o come un calendario. Una pin-up, questo particolarissimo ambito artistico. In
per dirsi tale, deve avcre caraueristic he ben questo nostro viaggio ci accompagneranno
precise: tra queste, Ia particolare postura que lle stcsse, bcllissime immagini che han-
della ragazza ritratta, che dovra necessa- no fa tto sognare intcrc generazioni, ncl cui
riamente esscrc scnsuale; o gli indumcnti policromo marc - per citare uno dc i nostri
indossati dalla ragazza, c he do vranno con- massimi pocti - ci sara sempre dolce il
Uibuire (lasciando sapicmemcnte scoperte, naufragare.
o facendo trasparire, parti "calde" de l s uo
corpo) a "erotizzare" ulterionnente l'imma-
gine. Secondo a lc uni, Ia pin-up "ortodossa" hat is pin-up art? Literally, a pin-
e quc lla chc csclude Ia presenza dell'ele-
mento maschilc come pure di ogni altro
elemento "estraneo", pred iI igendo uno sfon-
W up should beagirl painting(done
in such techniques as pastels,
gouache, watercolours , or oils) conceived
do bianco c he fa della ragazza l'unica prota- to be hung on a wall - like a poster, or a ca-
gonista dell'immagine. Piccole concessioni lendar. Yet a pin-up, to deserve this name,
al "contesto" possono essere rappresentate, must have precise c haracteristics: these
sc mai, da e lemcnti "funzionali" quali ma- inc lude the painted girl's posture, which has
rione tte dalla foggia maschile (che simbo- necessarily to be sensual; or the clothes the
leggino il controllo, da parte della pin-up, girl is wearing, which will contribute (by
sull'uomo-osscrvatore), cagnolini (che, con deliberate!y uncovering o r revealing, thanks
illoro agitarsi, possano provocare il sollc- Pin-ups by Enoch Bolles (top) and Earl Moran to their transparency, the "ho tter" parts of
vamento delle gonne de lle Ioro padroncine), (above;© Brown & Bigelow). her body) to make the image more erotic.

PIN UP ART 5
BAKE UP
AND
LIVE

George Quintana, September 1937.

According to some experts, the "orthodox"


pin-up painting has 10 exclude the presence
of a male partner, as well as any other
"alien" elemenL The background has to be
white, thus making the girl the sole protago-
nist of the picture. Some "functional" props
may be accepted , such as male-shaped
puppets (which symbolize the pin-up's
control over the male observer), puppies
(which often cause their mistresses' skirts
-as well as our blood pressure- to rise),
or certain kinds of objects (which have
evident phallic implications). We would not
be that strict, and think that "contextuali-
zed" images (that is, including a background,
and/or the presence ofa male figure) may be
excellent examples of pin-up art, provided
that the girl remains the protagonist of the
Cover featuring Betty Grable from Movie Story Magazine, December 1942. picture, keeping her charisma and sensuali-
ty intact. Thus, in our opinion, the pin-up
"orthodoxy" may also include those images
which -after being isolated from the me-
dium they had originally been painted for (a
book, or a comic book cover, for instance)
- can easily be hung on a wall, whether fra-
med or not.
The purpose of this book is to give readers
an overview of pin-up art in the United
States, with a focus on its "Golden Years"
(circa 1940 - Early 1960's). We will discuss
magazines, calendars, paperbacks, and -
most of all - we will remember many of
those talented artists who made this peculiar
genre great. It will be, we hope, a fascina-
ting dream-journey through an ocean of
multi-coloured images. And if our ship
should sink, we will be more than happy 10
drown.

Model Joan Stevens from the Beauty Parade centerfold, July 1951.

6 ESTHET I QCE
Above left: Pin-up by Ted Withers for an Artist's Sketchbook Calendar.© Brown & Bigelow
Above rig ht: Pin-up girl by Harry Ekman, ca.1958. Gag:« They tell me l"m a stand-out ...
Left: Peter Driben, cover from Wink, Vol. 8 # 2, October 1952.

u'est-<:e que l'art pin-up? Si l'on la jeune fille La seule hcro"ine de J'illustra- tes du medium auqucl ellesetaicnt dcstinees

Q prend cetlC forme d'exprcssion ar-


tistique a Ia !cure, toute image de
femme que l'on a peinte scion des techni-
tion. Toutefois, des compromis au "contex-
te" de pcu d'importance peuvent etre repre-
semes par des elements "fonctionnels" tels
(La couverturc d'un livre, par excmplc, ou
bien un album de BD)- peuvent etre tran-
quillement accrochees au mur, voire enca-
ques qui vom du pastel a Ia gouache, de que des marionnettes representant des drees, rentrent tout a fait dans l'orthodoxie
l'aquarelle a Ia peinture a l'huile, con~ue hommes (qui symbolisent le contr6le, de la des pin-ups.
pour etre accrochee au mur - com me l'af- pan de Ia pin-up, sur l'homme-observateur), Dans ce volume, nous nous proposons de
fiche ou com me Ie calendricr - devrait ju- ou bien de tout petits chiens (qui, avec leurs presenter une breve histoire de l'illustration
stement pouvoir cntrer dans ce domaine ar- mouvementscontinuels peuventsoulever la de Ia pin-up aux Et.ats-Unis, en insistant sur
tistique. Pour qu'on l'appelle ainsi, une pin- jupe de leur proprictaire), ou encore des ses "annees de gloire" qui vont de 1940
up, doit possecter des caracteristiques bien objets hct.Croclites (qui possectent si possi- jusqu'au debut des annees soixante. On
precises: l'aUirude tout a fait particuliere de ble, des connotations phalliques). Quant a pariera de revues, de calendriers, de paper-
la jeune fille sera necessairement scnsue lle, nous, nous ne voulons pas etre aussi catcgo- backs, et surtout on rappellera lcs princi-
ou bien les vetements pon~s par celle-ci riques, et nous pensons que lcs images "con- paux auteurs qui employerent une grande
contribueront a rendre !'illustration encore textualisees" (c'est-a-dirc lcs imagesaccom- partie de leur talent dans ce domaine anisti-
plus ~rotique (en devoilant savarnmant ou pagnees d'un background el/ou de Ia pre- que. Durant notre voyage, cesontces memes
en faisant entrevoir par transparence, Ies sence d'un personnage masculin) sont de trCS belles illustrations qui Ont fait rever
zones "chaudes" de son corps). Selon cer- tres bons exemples de pin-up pourvu que d'entieres generations qui nous accompa-
tains, Ia pin-up "onhodoxe" est celle qui l'element feminin rcstc Ie protagonistc in- gncrom, dans Ia mer multicolore desquellcs
exclutla presence de I'element masculin, de conteste et qu'il conserve Ie charisme et Ia il no us sera toujours agreable de nous laisser
meme que tout autre element "~tranger" et sensualite dont nous avons deja pari c. Scion transporter au gre des vagues.
qui privilegie ainsi un fond blanc, faisant de nous, les illustrations qui- une fois extrai-

Pll\'" UP ART 7
Above: Original cover art by Peter Driben for Titter , Vol. 3 # 2, September 1946. Titter was one of Harrison's successful girlie magazines.
Opposite: Cover by Hugh J . Ward for Spicy Adventure Stories (top); cover by Enoch Bolles (?) for Cupid's Capers, October 1933 (bottom).

8 ESTHETIQUE
Sexy Pulps & Girlie Magazines
u intomo al 1877 c he, in Francia, ne, La Paree Stories, Paris Nights, Gay cartoonyche si rifaceva a quello del celebre

F sulle copcrtine di riviste qual i La


Vie Parisienne, presero ad apparire
con regolarit.A illusl.l'aZioni colorate d.i belle
French Life, French Night Life e French
Scandals. Queste ed altrc magazines come
Snappy,Spicy Stories, Bedtime Stories, Pep,
John Held,jr. (il quale, peraltro, era stato tra
i primi collaboratori di Snappy). Alcuni
titoli , quali Stolen Sweets o Taule Tales,
ragazze in des habille. n principale au tore di Gayety o Breezy Stories- part.icolarme ntc includevano anche fotografic di nudi fem-
queste immagini in fondo innocenti rna diffuscacavallo tragli anni '20egli anni '30 minili. Nel contcsto della pin-up art, i sexy
nonilimeno stimo la nli - soprattutlO per il grazie a cditori quali Frank Munsey e Wil- pulps ri vesLOno una particolarc importanza:
pubblico del te mpo - e ra Rapha~l Kirch- liam M. Clayton - sono collcuivamcnte il loro "pezzo forte" erano infatli le poli-
ner. II suo escmpio ve nne seguito da molti ide mificate come sexy pulps o girlie pulps. crome illustrazioni di copcrtina, realizzatea
altri taJentosi artisli, tra i quali C. Hc rouard, Laddove i pulps tradizionali veicolavano te mpera, c he ritraevano un unico soggcuo
George Barbier, Pierre Brissaud e I' "oriun- letteratura popolare di stampo avvcnturoso femminile (solitamente su sfondo bianco,
do" Umbcno Brunelleschi (nato a Monte- (dal weste rn al mystery, dall'esotico al fan- per farlo risaltare maggiormc nte) in pose
murlo, in Toscana, nel 1879), e si iliffusero tascientifico), i sexy pulps proponevano "studiate" permetteme in evidenza le fogge
testate quali Le Journal Amusant, Gai-Pa- racconti in testa a sfondo romantico-eroli- curvilinee. Un particolare accento veniva
ris oLe Sourire, che si rifacevano aperta- co, accompagnati da illustrazio ni in bianco messo sulle gam be (tanlO che qucsLO tipo di
me nte al modcllo de La Vie Parisienne. e nero solitamente rcaliz.zate in uno stile figurazione eancoroggi noto come leg art),
Rapha~l Kirc hner divenne il vero e p roprio c he apparivano ora nude, ora inguainatc in
profeta della nconata pin-up art, e la sua que lle calzc di nylon c he per illc ttorc dell'e-
farna varco l'occano: nel 19 16, !'impresario poca rappresentavano un fortissimo ric hia-
teatrale F lorenz Ziegfeld lo incarico di mo sessuale. Chiari riferime nli feticistici
decorare con Je sue inimitabili illustrazioni era no, del resLO, presenti in testate quali Silk
ilfoyer delle celebri Follies di Broadway. Stocking Fun o High Heel Magazine. Du-
Negli Stati Uniti, i primi esempi di riviste rante gli anni della Grande Depressione,
che riprc ndcvano - pur senza raggiun- quelle riviste rappresentarono, con le !oro
geme Ia finezza - Ia fo rmula de La Vie invitanti copertinee con le Io ro s toriclle pic-
Parisienne, apparvero a ll'iniz io della Prima canti, un buon dive rs ivo per l'americano
Guerra Mondiale. II loro scopo era, almeno medio, affiillO da quotidiani problemi di 50-
inizialme me, quello di tirar su i I morale dei pravvive nza. Gli cditori, da parte loro, cer-
soldati al fronte, propone ndo tutta una serie cavano di venire incontro ai le tLOri o ffrendo
di panels umoris lici accompagnati da gags fino a cinque titoli diversi in abbonamento
ammiccanti. Captain Billy's Whiz Bang trimestrale cumulativo per 3,75 dollari -
(fondato da Will iam H. Fawcett, uno de i corrispondenli alia paga media di tre giomi.
nomi piu importanti dell'cditoria statuniten- Sulla stessa linea delle riviste appcna citate,
se), Jim Jam Jem e il Calgary Eye-Opener rna con uno specifico riferime nto al mondo
furono alcuni dei titoli piu diffusi. Ma lo del cinema eai suoi re troscena, si collocava-
spinto delle rivistc franccsi, e l'aunosfera no testate quali Film Fun, Movie 1/umor,
libcrtina della Parigi "anni '20" ve nnc ro piu Movie Merry-Go-Round eSaucy Movie Ta-
fede lme nte importati da riviste dai titoli les. II principale copeninista di sexy pulps
"gallici" quali Parisian Life, Gay Parisien- durante gli anni '20 e '30 fu Enoch Bolles, il

PI:\" U P ART 9
Hugh J . Ward, November 1934. Artist Unknown, May 1940. Artist Unknown, July/August 1937.

quale seppe creare- in uno stile voluta- Fondatoredella Trojan (altrimenti nota come Leslie Bellem, Henry Kuttner. Hugh Cave,
mente sospeso tra il realistico e il caricalU- Culture Publications), fu quell'Harry Do- c persino da quel Robcn E. Howard che
rale - un modello d i provocante femmini- ncnfeld (1898-1965) che, tra il 1937 e il aveva crcato il barbara Conan) vennero ben
lita. carallerizzato da una larga bocca - 1964, sarebbe stato titolare della DC Co- sintctiz.zatc graficamcnte nelle copenine a
quasi sempre aperta in un sorriso ammic- mics, Ia casa editrice chc ancor oggi pubbli- tempera (che ritracvano di solito belle ra-
cante e incomiciata cia un rossetto intenso ca i comic books di Superman e Batman. II gazze discinte, minacciate cia dcmoniache
- e daocchi semichiusi,cclati da un trucco nome di Doncnfeld, tuttavia, non apparve presenze o cia criminali sadici) realizzate
pcsante. A rincarare Ia dose di erotismo mai sulle pubblicazioni della Trojan/Cultu- con pig Iio real istico cia artisti di valore asso-
delle fi gurazioni di Bolles, e finanche a re: egli si riscrvo il piu "confonevole" ruolo luto quali Hugh J . Ward (rispettabile illu-
suggerire che Ia pin-up stesse mimando un di silent partner, lasciando che fosse il suo stratore di riviste "serie" quali Liberty) e
rapporto sessuale, provvedeva poi Ia co- socio Frank Armer a figurare come cditore Harry Parkhurst, che anticiparono a tratli il
stante presenza di oggetti piil o meno espli- di Spicy Detective, Spicy Western Stories, filone feticistico-bondage in auge a parlire
cit.amente fallici (selle, innaffiatoi, ancore, Spicy Mystery e Spicy Adventure Swries. da1 secondo dopoguerra. Nel gennaio del
spade, ecc.). Degni "seguaci" di Bolles fu- Gli spicy pulps conobbero illoro maggior 1943, semprc pill bcrsagliati dalla ccnsura,
rono George Quintana, Ray A. Burley, Earle fu1gore tra il 1934 e i1 1938, prima che i Armere Donenfeld deciscro di trasformare
K . Bergey e Peter Driben. Di alcuni di loro censori costringessero Donenfe ld e Armer a radicalmente i loropulps, sostituendo l'inte-
avremo modo di riparlare piu oltre. mitigame i comcnuti. Le Storie avventu- stazione Spicy con Ia piu neutra Speed (fino
La prcsenza femm inile fu semprc costante roso-erotiche (scritte da au tori quali Robert a chiudcre definitivamente i battcnti nel
anche sulle copertine dei pulps "avventuro- 1950). L'era degli spicy pulps era fin ita, rna
si", e in alcuni casi si puo parlare a huon per fonuna ne era appena iniziata un'altra:
diritto di pin-up art: si vcdano, ad csempio, quella delle girlie magazines di Roben
leardite, inquietanti figurazionidi Margaret Harrison.
Brundage per Weird Tales ( 1932-45), le La carricra g iomaJistica di Robert Harrison
curvilinee ragazze spaziali ritratte da Earle ebbe inizio negli anni '20, quando -ancora
Bergey per Litoli fantascientifici quali Star- adolescente- lavorava presso il quotidia-
tling Stories (c. l939-50) o Captain Future no scandalisticoNew York Graphic. Anche
(1941-45), o ledamsels in distress spogliate se dovette accontentarsi di servire da fauo-
e vinimizzatecla maniaci escienziati pazzi, rino, negli anni trascorsi al Graphic Harri-
ritraue cia William Reusswig, John Newton son imparo un sacco di cose sui giomali-
Howitt, Charles Blaine, Rafael M. DeSoto smo, e soprattuuo sulle immense potenzia-
edaltri per Dime Detective Magazine,Dime lita commerciali della stampa scandalistica.
Mystery Magazine, Terror Tales, Horror Nei primi mcsi del 1942, nel suo modesto
Stories, Romantic Detective, Private Detec- bilocale Harrison deue vita-con Ia prezio-
tive Stories ed altre testate consimili, pub- sa assistenza d i Earl Moran, grande "piuore
blicate soprauutto dalla Popular Publica- di donnine"- a un nuovo tipo di pubblica-
tions e clalla Trojan Publishing. Fu proprio zione, interamente dcdicata allcpin-ups. Le
quest'ultima casa editrice, che aveva Ia s ua sue48 pagine, infarcitedi servizi fotografici
sede a Wilmington, nel Delaware, a lancia- in bianco e nero con magnifichc ragazze in
re, nell'aprile del 1934, i cosiddetti spicy "due pezzi" o lingerie (servizi nei quali lo
pulps, che proponevano racconti ne i quali stesso Harrison compariva di quando in
l'avventura e Ia suspense procedevano di quando come "figurante"), giustificavano
pari passo con Ia violenza e l'erotismo. Charles Bla10e, Apnl 1936. appieno il titolo della rivista: Beauty Pa-

10 ESTH ETIQUE

George Quintana, March 1934. George Quintana, October 1935. George Quintana (?), April 1933.

rade- Glorifying the American Girl. L'A- nendo largamente fcdele ai canoni della leg to con il patinato, coloratissimo Playboy di
merica era enuata in guerra da pochi mcsi, art per quel cheauienealle posture delle sue Hugh Hefner, e dovcttero capitolare alia
e-comegitleraaccadutoaJie rivisLC "scol- girls, Driben prcsc a rcalizzare tutta una melt~ degli anni '50. Harrison, comunque,
lacciate" dcgli anni '10 - i soldati costitui- ser iedi magnilici ritratti femmi nili,e via via aveva un asso nella manica: nel diccmbre
rono (almcno all'inizio) una fetta considcre- che Harrison aggiungeva nuovi tiLOl i al suo del 1952 aveva inauguralO una nuova LCsta-
vole dci leuori di Beauty Parade. Per Ie cornet- con Tiller ( 1944), Eyeful ( 1944), ta, Ia scandalistica Confidential. La rivista,
copertinc - anche per evitare guai con Ia Wink (1945), Whisper ( l941) eFlirt( 1948), chc rapprescntava per molti versi Ia "cattiva
censura - Harrison penso bene di non tutti pubblicati con cadenza bimestrale - coscienza" dcii'Amcricadi Eiscnhowcr,parti
usarc fOlo, rna prefer! continuare Ia tradi.do- Dribcn prcndeva a dipingcmc le copcrtine, con una tiratura di 250.000 copie per arriva-
ne delle painted covers, e lo fcce assicuran- affiancato - piu o meno sahuariamente - rca vcndcme finoaquattro milioni a nume-
dosi prima di tutto i servigi di quell'ottimo da Moran (chc si firmava Steffa, essendo ro, c Harrison divenne un vero c proprio per-
PeLCr Dribcn che, nella seconda melt~ degli sot to contratto con Brown & Bigelow) e dal sonaggio, per quanto "scomodo". Sopran-
anni '30, avcva abbell itocon le sue tcmpere bravo Billy DeVorss (aulOre, scmpre negli nominato "The King of Leer" (leueralmcnLC
lecopertinedi riviste quali Gay Parisienne, anni '40, anche di molti calendari e poster c
"il rc della sbirciata", rna evidentc l'asso-
High /lee/ Magazine, Movie 1/wn()r, Silk per Brown & Bigelow). Nonostante Harri- nanza con "K ing Lear". lo shakespcariano
Stocking Stories eSpicy Stories. Lasciando- son potesse contarc (sin dal 1951) su una re Lear), l'cditore viaggiava a bordo di una
si aJie spaJie Ia stiliu..azione (alia lunga un modclla d'eccezione come Betty Page, le lussuosa Cadillac bianca, frcqucntava i ri-
po' sLCrcotipata) di Enoch Bolles, rna rima- sue girlie rrUJgazines non rcssero il confron- trovi piu in, e vcniva regolarmente invitato

r~olErt S October, l93S


~· 35~ IUEE1

George Quintana(?), July 1937. Peter Driben, December 1937. Artist Unknown, October 1937.

P I N UP ART 11
sliltlE;lilES IilES sliiii.E;IA•ES
25* .JUNE 1933 25* AUGUST 1933

Exoticism on some covers from Tattle Tales, a spicy pulp magazine of the Thirties. Illustrations by Artist(s) Unknown.

ai talk shows televisi vi. Almcno fino aHa innocent yet exciting (especially at that time) or "girlie pulps". Whereas traditionaJ pulps
fine dcgli anni '50, allorchC le protcste di images was Raphael K irchncr. His example published popular adventurous literature
colora i quali si scmivano danneggiati dalle was followed by scveraJ other taJented ar- (ranging from western to mystery, from
malevole "chiacchiere" di Confidential (in tists, like C. Hcrouard, George Barbier, exoticism to science-fiction), sexy pulps
primo luogo, molti attori hollywoodiani), Pierre Brissaud, and by one ItaJian artist, contained erotic-romantic text stories, ac-
non costrinsero Harrison prima a fare aLto di Umbcno Brunelleschi (who had moved to companied by black-and-white illustrations
contrizione e a cambiare radicalmente l'im- Paris from native Montcmurlo, Tuscany, which were usually drawn in a canoony
postazione della ri vista, ed in fine ad abban- where he had been born in 1879). Other style reminiscent of John Held's (in fact,
donare il campo cditoriale. titles started to appear, includi ng LeJournal H eld himself had been one of the nrst con-
Amusant, Gai-Paris or Le Sourire, which tributing artists). Some titles, like S10len
were directly inspired to La Vie Parisienne. Sweets or Taule Tales, also included nude
twasaround 1877 that,onthecoversof Kirchner became the real prophet of the girl photos.

I such French magazines as La Vie Pari-


sienne, stancd to regularly appear co-
lour illustrations of scantily-dressed beauti-
newborn pin-up art, and his fame reached
New York , w here Broadway impresario
R orenz Ziegfcld asked him ( 19 I 6) to deco-
Within pin-up~ sexy pulps are very im-
portant, on account of their cover iiJu-
strations. Done in oils or watercolours,lhe-
ful girls. The main author of these basically rate the haJis of his Follies with his inimita- se ponrayed one female subject (whose
ble illustrations.
In the United States, early examples of
magazines which imported the Vie Pari-
sienne formula (without reaching iL<; classy
levels) appearcd during WW I. InitiaJiy, they
were designed to cheer up soldiers by offe-
ring them a whole collection of spicy car-
toons. Captain Billy's Whiz Bang (founded
by William H. Fawcett, one of the most
important US publishers),JimJemJam and
the Calgary Eye-Opener were among the
best-known titles. Yet the spirit which ani-
mated the French magazines, and Lhe liber-
tine atmosphere of Paris in the Twenties,
.were more fail.hfull y represented in such
"Gallic" titles as Parisian Life, Gay Pari-
sienne,La Paree Stories. Paris Nights, Gay
French Life, Fren ch Night Life, and French
Scandals. These and olhcr magazines such
as Snappy, Spicy Stories, Bedtime Stories,
Pep , Gayety or Breezy Stories - which
were extremely popular between the 1920's
and 1930's, lhanks to such publ ishers as
Frank Munsey and William M. Clayton-
Cover from Tattle Tales. July 1933. were collectively identified as "sexy pulps" Cover from Tattle Tales, March 1934.

12 EST HE T l QUE
Famous history and literature women characters on cover. Artist(s) Unknown, Bedtime Stories, July, October and May 1933.

bright colours slOOd out against the white with daily survival problems. The publis- scientists and painted by William Rcuss-
background), in suc h poses that emphasized hers obviously tried to favour their readers wig, John Newton Howiu, Charles Blaine,
the girl's curves. Legs were depicted with by offering them cumulative subscriptions: Rafael M. DeSoto and many others for such
particular attention (which explains the "leg in 1935, a three-month sub to five different titles as Dime Detective Magazine, Dime
art" term used to refer to this kind of illustra- titles costS 3.75 - corresponding 10 over Mystery Magazine, Terror Tales, 1/orror
tion), both when they were naked, and when three days' wages. On the same Line of the Stories, Romantic Detective, and Private
they were enwrapped in those nylon stoc- above-mentioned titles, yet with specific Detective Stories, which were mostly pu-
kings which represented a strong sexual reference to the cinema and its backstage blished by PopuLar Publications and Trojan
lure for the reader. Clear fetishistic referen- stories, were such magazines as Film Fun, Publishing. The latter publisher, located in
ces were also prescm in such titles as Silk Movie Humor, Movie Merry-Go-Round and Wilmington, Delaware, launched (April,
Stocking Fun or 1/igh //eel Magazine. Saucy Movie Tales . 1934) Lhe so-called "spicy pulps", which
During the Great Depression years, those The main sexy pulp cover artist during the contained stories which paired up adventure
magazines represented, with tl1e ir alluring 1920's and 1930's was Enoch Bolles. He and suspense with violence and eroticism.
covers and their spicy stories, a good di- was able tocreate- usinga stylewhich was The founder of Trojan (a.k.a. Culture Publi-
straction for the average American, plagued partly realistic, and partly ludicrous - a cations) was Harry Donenfeld (1898-1965),
prototype of provoking femininity, c ha- the man who was at the head of DC Comics
ral:terized with a large mouth - usually
wide open in a tempting smile, and framed
by a deep-red lipstick - as well as with
half<losed eyes, concealed by a heavy make-
up. The erotic impact o f Bolles's pictures, as
well as the impression that the girl was mi-
mimg a sex act, was e nhanced by the con-
stant presence of objects which were more
or less explicitly phallic (saddles, watering-
can~. ·anchors, swords, etc.). Among the
better followers of Bolles's style there were
George Quintana, Ray A. Burley, Earle K.
Bergey, and Peter Dribcn. We will Later
discuss some of them in detail.
Painted girls were always present on the
covers of adventure pulps, too, so that in
some cases those paintings can be conside-
red excellent examples of pin-up arL See,
for example, Margaret Brundage's disquic-
tmgly sexy covers for Weird Tales (1932-
45).thr 'pace girls painted by Earle Bergey
for Startlmg Stories (c.l939-50) or Captain
.JUNE DUBARRY 1933 Future (1941-45), or the damsels in distress
Cover from Bedtime Stories, June 1933. stripped and tonured by maniacs or mad Cover from Bedtime Stories, Feb. 1934.

PIN UP ART 13
HAVANA NIGHTS 1 THE BREAST STROKE
bl<oa~ bi(A)Co...!l

Cover by Earle K. Bergey, January 1934.

copy boy, Harrison learned a lot of things


about journalism while at the Graphic, as
well as about the great commercial poten-
tialities of scandal. In Early 1942, in his
two-room nat, aided by famed girl painter
Earl Moran, Harrison gave Life to a brand
new kind of magazine, totally devoted to
pin-ups. Its 48 pages, chock-fulJ of black-
and-white pholOs of girls wearing bikinis or
lingerie (with Harrison himself appearing
as a "figurant", w hen necessary), certainly
justified the magazine's tiLle-Beauty Pa-
rade- Glorifying the American Girl. Ame-
rica had been at war for a few months, and
- as it had happened w ith the early girlie
magazines of the 19 10's - soldiers were
(for a few years, at least) Beauty Parade's
most faith ful readers. To avoid troubles
with censorship, H arrison thought well not
to usc photos on the covers, thus continuing
Bathing beauty. Cover from Stolen Sweets, October 1933. the painted cover tradi tion. As his main
cover artisl, he managed to hire Peter Dri-
bcn , who had previously embellished such
(ofSupennan and Baunan fame) from 1937 minals), done in a strong realistic style by sexy pulps as Gay Parisienne, 1/iglz Heel
until 1964. YeL. Donenfeld's name never such great artists as Hugh J. Ward (a "re- Magazine, Movie Stories, Silk Stocking Sto-
appeared in the Trojan/Culture magazines, spectable" illustrator of slick magazines I ike ries and Spicy Stories. Putting aside the
as he preferred to act as a silent partner, Liberty} and Harry Parkhurst, who anticipa- stylized approach he had inherited from
leaving Frank Armer the official role of ted the feti shistic-bondage genre, widely Enoch Bolles (which had, in the long run,
publisher of Spicy Detective, Spicy Western popular after WW2. In January, 1943, the looked a bit stereotyped), yet remaining
Stories, Spicy Mystery, and Spicy Adventu- slings and arrows of censorship convinced basically true to the canonsof"legart" as far
re Stories. The spicy pulps were particular- Anner and Donenfeld to radically transfonn as his girls' postures were concerned, Dri-
ly popular between 1934 and 1938, before their pulps, and they replaced the Spicy logo ben pa.i nted a whole collection of wonderful
censorship forced Donenfeld and Armer to with the tamer Speed. By 1950, even the female portraits, and as Harrison added new
tone down their contents. The spirit of the Speed line had come to an end. The spicy titles to his line of magazines- with Tiller
adventure-erotic sLOries printed inside the pulp era was over, yet another had just (1944), Eyeful {1944), Wink {1945), Whi-
magazines(written by suchauthorsasRobert begun, thanks to Robert Harrison's girlie sper (I 94 7) and Flirt (1948). aU of them
Leslie Bellem, Henry Kuttner, Hugh Cave, magazines. published bi-monthly - Driben painted
and even by Conan crealOr Robert E. Ho- Harrison's career began in the earl y 1920's, covers for them too, occasionally replaced
ward) was well synthesized in their painted when - still in his teens - he worked for by Moran (who signed himself with his
covers (which usually depicted half-naked the scandal newspaper New York Graphic. middle name Steffa a<; he was working un-
girls threatened by demons or sadistic cri - Even though he was only employed as a der exclusive contract for Brown & Bige-

14 ESTHETIQUE
Cover by Margaret Brundage, Sept. 1935.

low) or by Billy DeVorss (who also painted


many girlie calendars and posters for Brown
& Bigelow during Lhc 1940's). E vcn Lhough
Harrison could count (from 1951 onwards)
on an exceptional model named Beuy Page,
his girlie magazines were not able to face
Lhe competition of Hugh Hefner's Playboy,
and had to fold by Lhe Mid-1950's. Harrison,
however, had an ace up his sleeve: in De-
cember. 1952, he had started publishing yet
anolhertitle,ascandal magazinecalled Con- Too
fidential- Uncensored and Off the Record
{later, Lhe subtitle was changed to Tells the Mueh
Facts and Names the Names). Delving as it
did into Lhe darker side of Eisenhower's
Temptation
America, Confidential started out wilh a By
printrun of250.000 copies. selling over four Gerard Ravel
million at its peak. Harrison himself became
a very popular (if "dangerous") character:
"The King of Leer" (a<> he was nicknamed)
drove around the Big Apple in a white
Cadillac. ever-present at all Lhe in-spots, Unsigned cover, probably by Enoch Bolles, from Gay Parisienne, January 1937.
and often appearing on TV talk s hows. This
lasted until Lhe late 1950's, when a chorus of
remonstrations against Confidential's nasty tres Lalen tueux. parmi lesquels C. Herouard, de remonter le moral aux soldaL'> du front et
gossip (Hollywood actors being its favouri- George Barbier, Pierre Brissaud et l'italien elles proposaienl une scrie de panels humo-
te victims) urged Harrison to make amends Umberto Brunelleschi (ne a Montcmurlo, ristiques accompagnes de gags allusifs.
and to radically change Lhe magazine's en Toscane, en 1879). C'est ainsi que naqui- Captain Billy's Whiz Bang (fondc par Wil-
contents, and later to abandon Lhe publis- rent Le Journal Amusant, Gai-Paris, ou Le liam H. Fawcell, l'un des noms lcs plus im-
hing field for keeps. Sourire qui imitaient ouvertement le mode- portanLS du monde de l'Cdilion aux Etats-
le de La Vie Parisienne. Raphael Kirchner Unis). Jim Jam Jem el le Calgary Eye-
devint veritablement le prophete de l'art Opener furem quelques-uns des titres de
e fut vers 1877 qu'en France, com- pin-up qui venait de naitre et sa celebrite magazines les plus celebres. Mais l'esprit

C mencercnt 1'1 paraitre rcgulicrement


des illus trations en couleurdebelles
jeunes filles en deshabille sur les couvertu-
franchitl'oc&ln: en 1916, I'impresario Lhca-
tral Florenz Ziegfeld lui demanda de cteco-
rer avccses illustrations inimitables lefoyer
des revues fran~aises, de mcmc que I'atmos-
phere libertine du Paris des "annees 20",
furem importes fidclcmcnt par des revues
rcs de revues telles que La Vie Parisienne. des celebres Follies de Broadway. aux Litrcs "gaulois" Leis que Parisian Life,
Rapha~l J(jrchncr a cte le principal auteur Aux Etats-Unis, les premiers exemples de Gay Parisienne, La Paree Stories, Paris
de ccs images qui, bien qu'assez innocentes, revues qui reprenaient Ia formule de La Vie Nights, Gay Fren ch Life, French Night Life
etaient tout de meme excitantes. surtout Parisienne, sans toutefois egaler sa finesse, el French Scandals. Ccs revues et d'autres
pour le publicdeceneepoque-la Sonexem- apparurent lors de Ia Premiere Guerre magazines comme Snappy, Spicy Stories,
ple fut sui vi par beaucoup d'autrcs artistes Mondiale. Au toul debut, leur objectif etail Bedtime Stories, Pep, Gayety ou Breezy

PI - UP ART 15
Three covers by Earle K. Bergey from Gay Broadway (Summer 1935, Fall1937) and La Paree Stories (May 1934) pulp magazines.

Stories - particulierement repandus, du- tenaient aussi des photos de nus feminins. revues telles que Silk Stocking Fun ou High
rant Ia periode aUant des annees 20 aux Dans le contexte de l'art pin-up, Jes sexy Heel Magazine, de claires references fet.i-
annees 30, grace a des editeurs comme pulps acquirent une importance considera- chistes. Pendant les annees de Ia Grande
Frank Munsey et William M. Clayton - ble: les illustrations multicolores des cou- Depression, avec leurs couvertures invitan-
sont collectivement identifies commc des vertures, realisees a Ia gouache, etaient tes et le urs his toires osees, ces revues furent
sexy pulps ou des girlie pulps. La ou les excellentes. Sur ces couvertures, il n'y avail une bonne distraction pour l'americain
pulps traditionnels vehiculaient une liltera- qu'unseul sujet feminin (generalement peint moyen, afflige par ses problemes quoti-
ture populaire d'aventures (du western au sur fond blanc pour mieux le fa ire ressortir) diens de survie. De leur c6te, les editeurs
polar, de l'cxotisme aIa science-fiction), les dont les poses, savarnment etudiees, souli- cherchaient a faire des prix a leurs lecteurs
sexy pulps proposaient des recits d'inspira- gnaientle gal be de leur corps. On mettai ties et leur offraient jusqu'a cinq revues d.iffe-
tion romantique et erotique, avec des illu- jambes en relief, si bien que ce genre d'illu- rentes dans un abonnement trimestriel
strations en no ir et blanc, realisecs habituel- stration est encore connu de nos jours sous cumulatif pour 3,75 dollars- cette somme
lement dans un style cartoonyqui s'inspirait le nom de leg art; on montrait celles-ci correspondait a Ia paye moyenne de trois
de celui du celebre John Held, jr. Ce demier tanti'>t nues, tanti'>t moulees dans ces bas jours de travail. Des revues comme Film
avait d'ailleurs ete l'un des premiers colla- nylon qui representaient pour le lecteur de Fun, Movie Humor, Movie Merry-Go-
borateurs de Snappy. Quelques revues, tel- cett.e epoque-la un tres fort appel sexuel. II Round et Saucy Movie Tales, ayant comme
les que Stolen Sweets ou Tattle Tales, con- y avait, du reste, dans lcs noms memes des reference specifique le monde du cinema ct

llltC1!~1-IIR

Three covers by Enoch Bolles from Spicy Strories (December 1937, December 1936) and Gay Parisienne (February 1935) magazines.

16 EST H E T I Q u E
Nude covers by Charles Blaine from Saucy Movie Tales (Dec.1935, March 1935, Sept. 1936).

ses coulisses, se pla~aient dans Ia meme train de mimer un rapport sexuel. George maniaques ou de savants fous dessintes par
lign~ que les revues cities ci-dessus. Le Quintana, Ray A. Burley, Earle K. Bergey William Reusswig, John Newton Howitt.
principal i Uustrateur de couvertures de sexy etPeterDriben furentdedignes "emules" de Charles Blaine, Rafael M . DeSoto et d'au-
pulps, pendantles anntes 20 et30, fut Enoch Bolles. Nous aurons, par Ia suite, !'occasion tres pour Dime Detective Magazine, Dime
Bolles. Ce demier sut cr~r - dans un style de parter de certains d'entre eux. Mystery Magazine, Terror Tales, Horror
Ami-chemin entre le realisme etla caricatu- La presence feminine futtoujours constante Stories,Romantic Detective,Private Detec-
re- un modele de femme provocante ca- sur les couvertures des pulps d'aventures, et tive Stories et d'autres revues semb1ables,
racterise par une bouche genereuse- pre- dans certains cas on peut justement parler de publiees surtout par Ia Popular Publications
sque toujours entrouvcrte dans un sourire pin-up art. n suffit de regarder, par excm- et Ia Trojan Publishjng. Ce fut justement
aiJusif et soulignee par un rouge a levrcs ple, les illustrations audacieuses et inquie- cette derruere maison d'Mition dont le siege
intense - et par des yeux A demi-fermcs, tantes de Margaret Brundage pour Weird etajt a Wilmington, dans le Delaware, qui
recouverts d'un maquillage trcs accentue. Ta/es(l932-45), 1esjeunes filles de l'espace Ian~. en avril 1934,les spicy pulps. Ces re-
Dans les illustrations de Bolles, Ia presence aux courbes genereuses dessinees par Earle vues offraient des recits dans lesquels !'a-
d'objets plus ou moins explicitement phalli- Bergey pour des revues de science-fiction venture et le suspense accompagnaient Ia
ques (des selles, des arrosoirs, des ancres, telles que Startling Stories (c.l939-50) et violence et l'erotisme. Le fondateur de Ia
des epres etc ..) accentuait Ia dose d'croti- Captain Future ( 1941-45), o u que les dam- Trojan (connue aussi com me Culture Publi-
sme, suggerant meme que Ia pin-up etait en sels in distress devetues et victimes de cations) fut Harry Donenfeld ( 1898-1965),

"Phallic symbols": covers from R991 Humor (Dec. 1937, Feb. 1938) by G. Quintana, and from Film Fun (June 1931) by E. Bolles.

PIN UP ART 17
Peter Driben, April 1955 (Vol. 14 # 2). B. Page on cover, Aug. 1953 (Vol. 10 # 1). Peter Driben, Oct. 1954 (Vol. 10 # 2).

ce meme Harry Donenfeld qui futle t.itulaire furem savamment synthetisees et peintes a de commencer: celle des girlies magazines
de Ia DC Comics de 193 7 a 1964, la maison Ia gouache sur les couverturcs ou !'on pre- de Robert Harrison.
d'edit.ion qui public encore de nos jours les sentait de belles jeunes fiUes, a demi-ve- Au debut des annees 20, Robert Harrison
comic books de Superman et de Batman. tues, menacecs par des presences demonia- commen~a une carriere de joumalistc, alors
Jamais pourtantle nom de Doncnfeld n'ap- qucs ou par des criminels sadiques. Ces qu'il n'etait qu'adolescent. II travaillait dans
parut sur les publications de 1a Trojan/Cul- iUustrations,empreintesderealismc,ontete un quolidien a scandales: New York Gra-
ture: il sc rescrva lc ro le plus "confortablc" dessinecs par des artistes d'une indeniable phic. Meme s'il avait du se contenter d'un
de silent partner, e tlaissa que son associe valeur, commc Hugh J. Ward (respectable paste subalteme de gar~on de courses du-
Frank Armer figure comme Cditeurde Spicy iUustrateur de revues "serieuses'' te lle que rant les annees passees au Graphic, il y
Detective, Spicy Western Stories, Spicy My- Liberty)et Harry Parkhurst qui anticiperent, apprit enormement sur le journalis me, sur-
stery et Spicy Adventure Stories. Les spicy par moments, le ftlon fetichiste-bondage en tout sur les innombrables capacites com-
pu/psconnurentl'apogeede leur glo irecntre vogue a partir du demier apres-guerre. En merciales de Ia Presse a scandales. Durant
les annecs 1934 et 1938, avant que lcs janvier 1943, Armer et Doncnfcld, toujours les premiers mois de l'annee 1942, dans son
censcurs obligcm Doncnfeld et Armer a plus harccles par Ia censure, decidcrent de modeste deux-pieces, Harrison lit naltre-
mitiger leur contcnu. Lcs his to ires erotico- transformer radicalemcnt leur pulps: ils avec 1a collaboration de Earl Moran, grand
aventurcuses, &:rites par des auteurs com- changerent Ia parole Spicy avec Speed qui "peintre de filles"- un nouveau genre de
me Robert Leslie Bellem, Heruy Kuttner, ctait plus neutre; puis ils tinirent par tout publication, entierementconsacreeaux pin-
Hugh Cave, et par ce meme Robert E. Iiquidcr en 1950. L'ere des spicy pulps etait ups. Ses 48 pages, couvertes de reportages
Howard qui avait crcc le barbare Conan, revolue, mais hcureuscment, uneautre vcnait photo en noir et blanc avec de magnifiques

-
l5<

HOW CHORUS
OIRLI ARI MADE
......


-·--.

-
" Ktw...... MAOUINI

Billy DeVorss, Dec. 1947 (Vol. 1 # 1 ). Peter Driben, Sept. 1948 (Vol. 2 # 3). Billy DeVorss, July 1949 (Vol. 5 # 6).

18 E ST H E T I QC E
Peter Driben, cover from TiNer, Vol. 9 # 5, April 1953. Peter Driben, cover from Eyeful, Vol. 2 # 6, March 1946.

poupees en maillms de bain "deux-pieces" moins rcgulicrement - par Moran (qui ses girlie magazines furent ecrases par le
ou en lingerie justifmient totalementle Litre sigr~aitSteffa, puisqu'il ctait sous contrat Playboy aux brillantes couleurs, en papier
meme de Ia revue: Beauty Parade-Glori- avec Brown & Bigelow) et par le trcs talen- couche d'Hugh Hefner, et its durem capiw-
fying 1he American Girl. Harrison apparais- tue ux Billy De Vorss (auteur de nombreux ler vers le milieu des annees 50. Mais,
sait d'a.illeurs dans ces reportages comme calcndriers et affiches pour Brown & Bige- Harrison avail encore de nombreux atouts
"figurant". L'Amerique venait de rentrer en low, toujours dans les annecs 40). Bien que dans son jeu: en deccmbre 1952, il ir~augura
gucrredepuispeu,lessoldats(tout du moins Harrison put compter, a partir de 1951, sur une nouvelle revue a scandales, Confiden-
au debut) reprcsentcrent une bonne tranche un modele d'except.ion comme Beuy Page, tial. Ce magazine, qui representait, sous
des lecteurs de Beauty Parade, com me cela bien des aspects, Ia "mauvaise conscience"
etail deja arrive pour les revues "osecs" des de I'Amerique d'Eiscnhower, debuta avec
annees 10. Pour les couvertures, Harrison un t.irage de 250.000 exemplaires pour arri-
eutla bonne idee de ne pas utiliser de pho- ver a en vendre jusqu'a quatre millions par
tos; il prefera continuer Ia tradition des numero. Harrison devint un veritable per-
painled covers, pour eviter aussi d'even- sonnage, memes' it etait plut.6t"derangeant".
tuels ennuis avec Ia censure. II s'assura les Sumomme "The King of Leer" (dontla tra-
services de I'excellent Peter Dri ben qui avail, duction litterale est "le Roi du Regard en
pendant Ia deuxieme moit.ie des annees 30, coulisse" mais dont I'assonance avec "King
egaye avec ses gouaches les couvertures de Lear", Je roi shakespearien, est evidente),
revues com me: Gay Parisienne, lligh Heel l'editeur voyageait a bord d'une Juxueuse
Magazine, Movie Humor,SilkSwcking Sto- Cadillac blanche; il frequentaitles lieux de
ries et Spicy Stories. Dribcn abandonna les rencontre les plus chics et on l'invitait regu-
illustrations stylisees d'Enoch Bolles qui, a lierementdans les talk shows televises. Cela
Ia longue, apparurent un peu stereotypCcs, dura au moins jusqu'a Ia fin des annees 50.
mais, tout en restant fidele aux canons de Ia Les protestations de ceux qui se sentaient
leg ar1 pour Ia position de scs girls, il realisa leses par les "medisances" malveillantes de
toute unc seric de magnifiques portraits Confidential (tout d'abord, de nombreux
fcminins. Au fur eta mesure que Harrison acteurs d'Hollywood) obligerent Harrison,
ajoutait de nouveaux titres de revues a son dans un premier moment, a se repentir pu-
camet-avec Titter (1944), Eyeful (1944), bliquement puis a changer radicalement Ia
Wink( l 945), Whisper(l941)etFlirt (1948), ligne directrice de sa revue et enfm a a ban-
qui sorta.icnttous les deux mois, Driben en donner !'e dition.
illustrait les couvcrturcs - aide, plus ou Steffa (Earl Moran), March 1948 (Vol. 1 # 2).

PI N UP ART 19
A1argaretBrundage
Covers for «Weird Tales» pulp magazine

20 E S T H E T I Q U E
.e1t
. ,. . ...u. -:.::~

W
•<! WOLF GIRL
li IO ~ ~[lf N
---ale.r ·
t
• )
.,.

',,
' /'-...
.. , .. ,

'
·;

~-
• , . ·. • • • •
,,
••• • • ~· t .(• • • 11•1 •1 I ... U tt• • • t•• s t I t Ill

u-...Jeird
"Talef
.~ ..·/:_.; .
·: --

·~
~\
.
•..
.
. 1'
'
.
. , ·;":
,
..l -• --.. ...-
..
.
....
\ ... '
.

PI:\ C p ART 21
22 E S T H E T I Q t; E
Above: Covers from Weird Tales: September 1938, September 1933, March 1936, September 1937, January 1936, and November 1936.
Opposite: Covers from Weird Tales: January 1934, June 1933, November 1934, and September 1934.
Page 20: Cover from Weird Tales, November 1937.
Page 21 : Covers from Weird Tales: August 1938, October 1933, November 1935, Nov. 1933, March 1938, January 1938, October 1932,
June 1938, and October 1937. Margaret Brundage did 67 covers in all for Weird Tales, the well-known pulp magazine, from 1932 to 1945.

Weird Tales is copyright e Weird Tales, l td

PIN UP ART 23
Harry J. Parkhurst
Hugh J. Ward
John Newton Howitt .. .
Covers for
«Spicy Detective Stories», «Spicy Mystery Stories»,
«Horror Stories», «Terror Tales»,
and other pulp magazines

24 E S T H E T I Q C E
P I :\ li P A R T 25
26 EST H E T I Q U E
Above. Torture and sadism on pulp magazine covers by: Charles Blaine, New Mystery Adventures, December 1935; Wilham Reusswig, Dime
Detect1ve Magazine, September 1933; William F. Soare, Horror Stones, June/July 1937; Jerome Rozen, Private Detective Stories, June 1940;
Harry J. Parkhurst, Spicy Mystery Stories, October 1937; Rafael M. DeSoto, Ten Detective A ces, June 1936.
Opposite: Six covers by John Newton Howitt from Horror Stories (July 1935), Dime Detective Magazine (March 1934), Terror Tales (October
1935), Horror Stories (August/September 1937, September 1935), and Terror Tales (January 1935); and three covers by John Drew from
Horror Stories (Feb./March 1937), Terror Tales (Nov./Dec. 1937), and Horror Stories (March 1940).
Page 24: Harry J . Parkhurst, cover from Spicy Detective Stories, May 1935.
Page 25: H.J. Ward, covers from Spicy Mystery Stories (August 1935, June 1935, and May 1936) and Spicy Detective Stories (Dec. 1934).

Dime Detective Magazine, Horror Stories, and Terror Tales are copyright e Argosy Commumcations Inc.
Private Detective Stories is copyright e Trojan Publications
Spicy Detective Stories, Spicy Mystery Stories. and Spicy Adventure Stories are copyright e Culture Publications

PI ~- C P A RT 27
Enoch Bolles
Covers for «Film Fun» and other magazines

28 E S T H E T I Q U E
JANUARY
F11N

e Good O!de
xmas Sheer /

J \.lly
c;OEC IAl CJ\NOID

f) ..:AMEQl\ FEl\'fUQES

"\HE TlE
-t'\-\A 1' ~U tvDS /

P I N U P ART 29
FOorr:o~
TOOT'S SWIET iHOUGHT/

30 E S T li E T I Q C E
..,,. , •• 1!1:16

.ti n g o~ I a,.
GAY 0~ MACAI.INE

Above : Covers from Gay Book Magazine (July 1936, Spring 1934) and Breezy Stories (February 1937, April1937, and June 1936).
Opposite: Covers from Film Fun: April 1939, March 1934, December 1935, June 1938, March 1933, June 1935, December 1937, February
1936, and February 1935.
Page 28: Cover from Film Fun, December 1933.
Page 29: Covers from Film Fun: November 1937, January 1937, October 1937, and July (year unknown).

PIK U P ART 31
Peter Driben
Covers for «Beauty Parade»
and other Harrison girlie magazines

32 E S T H E T I Q C E
BEAUTY BEAUTY
PARADE PARADE

FARMER'S NAUGHTY
DAUGHTER

JULY
25~

P I N U P AR T 33
BEAUTY
PARADE
'"f..ht World's loueliest Girls

34 E S T H E T I Q uE
au.
254

GALS WEAR
THE PANTS!

BEAUTY
PARADE

.
MODELS • PI N-Ul'S

BEAUn
PARAD

PIN U P AR T 35
EAUTY
IUDE

__-
7··?-~
., """'Cirto .........
~- ..
.,; ....,.,_._
.; .......,
.; .._111111111 ...

Page 32: Cover from Beauty Parade. Vol. 13 # 5, November 1954.


Page 33: Covers from Beauty Parade: December 1955 (Vol. 14 # 6), August 1955 (Vol. 14 # 4; o riginally created for the July 1949 issue),
March 1951 (Vol. 10 # 1), and July 1951 (Vol. 10 # 3).
Page 34: Covers from Beauty Parade: August 1948 (Vol. 14 # 5), June 1949 (Vol. 8 # 2). January 1953 (Vol. 11 # 6), and November 1953
(Vol. 12 # 5; originally painted for the August 1949 issuA of Flirt).
Page 35 : Covers from Beauty Parade: December 1946 (Vol. 5 # 6), October 1947 (Vol. 6 # 4), March 1953 (Vol. 12 # 1), May 1947 (Vol. 6 #
2), August 1947 (Vol. 6 # 3), Apri11948 (Vol. 7 # 1), December 1947 (Vol. 6 # 5), August 1946 (Vol. 5 # 4). and June 1948 (Vol. 7 # 2).

36 E S T H E T I Q U E
H IH
25C

Above: Covers from Rirt February 1953 (Vol. 6 # 1), August 1951 (Vol. 4 # 4), April1953 (Vol. 6 # 2), August 1949 (Vol. 2 # 4), and February
1955 (Vol. 8 # 1).
Opposite top: Covers from Beauty Parade: March 1952 (Vol. 11 # 1) and March 1955 (Vol. 14 # 1).
Opposite bottom: Covers from Whisper. March 1949 (Vol. 2 # 6), November 1948 (Vol. 2 # 4), and May 1948 (Vol. 2 # 1).

P J N UP ART 3 7
Above: Pin-up girl by Gil Elvgren. © Brown & Bigelow
Opposite: Mutoscope cards by Rolf Armstrong (top) and Earl Moran (bottom).© Brown & Bigelow

38 E S T H E T I Q U E
Brown & Bigelow,
the Pin-up Factory
ulla sponda sinistra del M ississippi. La superiorita di Brown & Bige low ne l "punta di diamante" di Brown & Bigelow.

S nella parte s ud-orientale del Minneso-


ta, sorge St. Paul, capitale di quello
stato fin dal 1858. Nata net 1820 come
senore dei pin-up calendars e de lla pin-up
art in gencralc, fu dete rminata dalla loro
abilita ne ll'assicurarsi quasi tutti i miglio ri
Ex pug ileeskipper di fama. Armstrong. c he
si era forma to artisticarnente a l Chicago Art
Institute. c roo una scrie infinita di delicate
insediamento di commerc ianti di pelli, e artisti de l scllo re, anche e soprauutto "ru- immagini, quasi tutte rcali7.zatc con coIori a
oggi (insieme con Ia "gemella" Minneapo- bandoli" alia concorrenza con alle ua nti pastcllo c basate su mode lle piuuosto che su
lis) un notevole centro indus triale ed un propostc finanzia rie. Durante gli anni '20 e foto. Era, forsc, proprio quest'ultimo aspet-
importante me rcato granario, di bovini e '30, Rolf Armstro ng ( 1889-1960) fu Ia ve ra to a fare Ia diffe renza tra le pin-ups d i
suini. Ma per alme no mezzo secolo, SL Paul Armstrong e quclle di altri artisti s uoi con-
c stata anc he (ed e questo che a noi piu tcmporanei, a rcndcrlc piu vivc e "calde",
interessa) il maggior centro di produzione sia quando assumevano aueggiamcnti sofi-
della pin-up art "made in USA": risale infat- sticati esognanti, s iaallo rchCsi mostravano
ti at 1903 Ia pubblicazione, da parte di biric hine e giocose. Arm trong fu fo rse il
Brown & Bigelow, di un girlie calendar primo a conciliare Ia pin-up art con l'arte
abbellito da un dipinto di Angelo Asti inti- "scria". c reando opere che avrebbcro fauo
tolato Colette. Sta di fauo che Brown & Ia loro bella figura suiIa parcte di un negozio
Bigelo w e il no me della primae piu impor- d i barbiere come su quella di un musco.
tante casa produttrice di cale ndari del moo- Fino ai primi anni '40, i princ ipali clienti di
do, ehe ancor oggi ha Ia sua scde su Plato Brown & Bigelow (come pure di altri edito-
Boulevard, nella c itta del Minnesota. Quel ri specializzati nella produz io nedi calenda-
primo calendario a soggetto femminile e il ri) furono le irnprcsccommcrciali e-limi-
suo succcsso commerciale (ne furono ven- tatarncnte at periodo bcllico - i soldati. I
dute o ltre un milione e mezzo di copie) calendari con pin-ups, c he potevano avere
aprirono Ia strada alia produzione in serie di un'unic a illustrazione, oppure sci, o dodici
girlie calendars e - d i conseguenza - alia (una per ogni mese de ll'anno) venivano
creazione di uno staff di artisti specializzati starnpati lasciando. tra lapin- upe ledate de l
nella realizzazione di irnmagini sempre piu calendario, lo spazio per Ia starnpigliatura
ammiccanti e sensuali. Pur continuando a del nome de lle varie diue, c he avrcbbcro poi
realizzarc calendari di ogni gene rc. Brown curato la distribuzione de i ca.lendari ai pro-
& Bigelow pensarono bene di dedicare una pri clienti e dipendenti, come "omaggio di
considerevole "fetta" della loro produzio ne fine anno" oppure a fini pubblic itari. I ca-
aile "donnine dipinte". trasformandosi per lendari coo pin-ups avevano, di conseguen-
mo lti versi in una vera e propria "fabbrica za, una diffusio ne assai ampia, per c ui Ia
delle pin-ups". nudita (pur se mediata dalla riproduzione

PI N U P ART 39
Zoe M ozert portraying movie star Jane
Russell for The Outlawmovie poster (1946),
reproduced above.

artistica) era general mente evit.at.a. Furono che camosc - facevano delloro meg Iio per butori automatici al prezz.o di cinque cents
gli anni '20 e '30 a vcdere Ia maggior diffu- surrogare, in questa loro ambiguita di fon - ciascuna, e ancora su scatole di fiammiferi,
sione di figure nude sui pin-up calendars, do, ora Ia sorella, ora l'amica sinccra, ora Ia portasigareuc e pcrsino bretclle (per uomo,
anche sc l'ambientazione "esotico-onirica" girl-friend, ora il non meglio identificato natural mente). La popolarita delle pin-ups
contribuiva non poco a farprendere a quelle "oggeuo del desiderio" del private a stclle e em talc, chc sulle fusolicre di molti acrci da
figurazioni le dovute dist.anzc dalla vita di striscc. combattimento artisti non profcssionisti
tutti i giomi. Con l'avvento della Scconda Fu proprio durante il pcriodo bcllico chc presero a dipingere donn inc copiandole dai
Guerra Mondiale, le pin-ups di Brown & Brown & Bigelow - soprauuuo in ragione calendari di Brown & Bigelow, oppurc dai
Bigelow tomarono, pcrcosi dire, alia rcallA: della crcsccnte richicst.a di pin-ups da parte paginoni di Esquire [vcdi il sccondo volu-
i raga1.zi aJ frome avevano bisogno di qual- delle Fort-e Arrnate - diversificarono Ia me], inaugurando cosl un scuorc "pcriferi-
cosa che ricordassc loro i lati piu piacevoli propria produzione "riciclando" le immagi- co" della pin-up art passato aJ Ia storia con Ia
di quella quotidianita cui erano st.ati strap- ni dei calendari o crcandone di nuove per denominazione nose art (dove con "nose" si
pati, e le "girLf dipime" di Brown & Bige- altri formati c altri media. Le "donnine intendeva, appunto, Ia fusolicra dell'aerco).
low - con i loro modi un po' infantili e le dipintc" targate B&B apparvero su manife- Sc, poi, accadeva che un pill·llp artist di
Ioro gam be lOmite, con i Ioro aueggiamen- sti, scrie di mini-poster, canoline (denomi- chiara fama venissc arruolato, lc Forzc
ti apparentemente sprovvcduti e le loro boc- nate mutoscope cards) ouenibili da distri- Arrnatc amcricane non si lasciavano ccrto
sfuggirc l'occasione di aggiungcre ai suoi
doveri militari it compito d i rallegrare le
truppc con le sue titillanti illustrazioni: e
quanto accadde, per escmpio, ad Earl Mac-
Pherson (n. 1911 ), che dopo aver rcalizzato
per Brown & Bigelow due Artist's Sketch
Pad Calendars ncl 1940 e 194 1, vennc re-
clut.ato in Marina cd ebbc modo di dccorare
con lesuepin-ups posti di guardia cd alloggi
per gli ufficiali.
Net 1941, Esquire aveva inaugurato Ia
vcndita per posta c aJ deLLaglio di pin-up
calendars, aprcndosi le pone dj un mcrcato
fmo ad allora incsplorato, net qualc ben
presto si gcttarono a capofitto anche Brown
& Bigelow, che contrapposcro aile statuarie
girls di Albeno Vargas le figurazioni piu
"sbarazzine" rna non meno scnsuali create
cfaj loro artist.i. Durante gli anni '40 e '50, 1a
company di SL Paul poteva contare su nomi
di assoluto valore quali Earl Moran. Gil
Elvgrcn, ~ Mozen, Ted Withers, K.O.
Munson, Freeman Elliot. AI Buell, Jules
Draw1ng by M11ton Candf from Male Ca// wart1me stnp, Apn14th, 1943. e M11ton Caniff Erbit, Fritz Willis e altri ancora. Ma furono

10 E S T H E T I Q uE
Nose art. Drawing by Milton Can iff from a Male Call strip (June 17th, 1945), and his heroine on the "nose• of a B-25.

soprattutiO i primi tre a "lasciare il segno" Joseph, Missouri,e poi (dal l945)perBrown le bevande alcoliche, Elvgren estato consi-
nella s10ria della pin-up art. & Bige low. Le sue bellissime girls erano dcraiO per anni una sorta di "Vargas dei
Earl Steffa Moran era nato 1'8 dicembre dipinte in uno stile "morbido", talvolta fi- poveri", rna oggi, per fortuna, si comincia a
1893 a Plaine, neli'Iowa, e ancora adole- nanche "etereo", che certo risentiva della render giustizia al suo incredibile taleniO, e
scentc si era dedicato all'illustrazionc se- lezionedi Sundblom ed aveva aspetti comu- le sue opere hanna raggiunto quotazioni da
gucndo Ia lezione di Charles Dana Gibson, ni con quello usa to da Peter Driben perle co- capogiro.
James Montgomery F lagg e Coles Phillips. pertine di Beauty Paradee delle altre riviste Fu nei primi anni '30 che Alice Adelaide
Dopo aver studiato presso il Chicago Art di Robert Harrison. Memorabili furono Moser (nata il 4 luglio 1907 a Colorado
Institute c 1'Art Students League di New anche le pin-ups che Elvgren tratteggio per Springs, nel Colorado) decise di cambiare il
York, lavoro come aiuto-tipografo c poi diverse campagne pubblicitarie della Coca- suo nome nel piu evocativo ~ MozerL
come discgna10re di moda. Nel 1934 entro Cola. Tolte, forse, le sue primissime prove, Iniziata ai segreti dell'illustrazioneda Thorn-
in forza allafactory di Brown & Bigelow, Elvgren fu l'unico, tra i pin-up artists di ton Oakley, allievo del grande N.C. Wyeth,
sostituendo progrcssivamente Rolf Arm- Brown & Bigelow, a mantenere livelli di Ia Mozert lavoro per qualche tempo come
strong come !oro principale pin-up artist. assoluta eccellenza in tutti i suoi dipinti, e vetrinista a Philadephia prima di realizzare,
Trc anni dopo Moran aveva un s uo studio a soprattutiO a creare delle figurazioni che intorno al 1933, i suoi primi pastelli a sog-
Manhattan, dove l'artista creo i suoi piu bei ancora oggi, a quasi cinquant'anni di distan- getiO fcmminile. Fino al 1940, le sue illu-
dipinti a pastcllo ispirandosi con le sinuosi- za, non appaiono affatiO datate. CondotiO ad strazioni ornarono le copertine di riviste
ta di magnifiche modelle, tra le quali si di- una morte prematura dalla sua passione per quali Romantic Movie Stories, True Confes-
stinscro anche lc giovani e non ancora famose sions e Screen Book, nonc he di sexy pulps
Marilyn Monroe e Jayne Mansfield. Moran quali Paris Nights, e nel 1938 !'American
realizzo anche illustrazioni pubblicitarie per Weeklydi William Randolph Hearstpubbli-
Scars, Roebuck & Co., copcrtine per riviste co dodici suoi dipinti. La Mozert realizzo
quali Life c Beauty Parade (di quest'ultima, pure moltissime illustrazioni pubblicitarie
come si e vista, era anche co-ediiOre) e per committenti quali Irresistible Perfume,
poster cinematografici (come quello per Dr. Pepper e Kool Cigarettes. Intomo aJ
Something/or the Boys, 1944). Dopo Ia fine 1941 , ~ invio alcuni suoi dipinti di nudi
del sodaliziocon Brown & Bigelow (1958), femminili a David Smart, ediiOre di Esqui-
Moran dipinse nudi femminili per commit- re, che se ne most.rO entusiasta e ne compro
tenti privati fino a circadueanni prima della una dozzina, anche se per qualche motivo
sua morte, che avvenne il 17 gcnnaio 1984 non li pubblico mai. Subito dopo, Orion
a Santa Monica, in California. Winford, dircttore artistico per Brown &
L'amore per Ia pittura e per i colori nacque Bigelow, offri alia Mozert un contralto in
mol10 pres10 nel grande Gillette A. Elvgren esclusiva a condizioni molto favorcvoli, e
( 1915-1980), forse anche perc he suo padre l'artista accettO di buon grado. II suo primo
era proprietario di un grande negozio di "nudo di donna" per B&B, Sweet Dreams,
vernici a SL Paul, nel Minnesota. Dopo aver fu il piu vendutodallacompagniadi SL Paul
studiaiO alia American Academy of Fine nel 1943. Le delicate pin-ups a poi[ della
Arts, Elvgrcn si era occupato soprattutiO di Mozertcontinuarono ad apparire peri tipi di
illustrazione pubblicitaria lavorando a Chi- Brown & Bigelow fino alia meta degli anni
cago nella studio di Haddon Sundblom '60 (quando per ognuna di esse ricevcva tra
(famoso autore dei manifesti della Coca- i 4000 e i 5000 dollari), rna l'artista ebbe
Cola) insieme con altri artisti del calibro di modo di distinguersi anche in altri settori
AI Buell, Andrew Loomis e Harry Ekman, dcll'illustrazione: memorabile fu soprattut-
prima di dedicarsi alia pin-up art realiz- to il manifesto da lei realizzato per il film
zando, fin dagli anni '30, calendari, poster e The Outlaw (II mio corpo ti scaldera, 1943),
car10line per Ia Louis F. Dow Co. di SL Gil Elvgren, 1954. e The Coca-Cola Co. raffigurante Ia "bomba sexy" Jane Russell.

PIN UP ART 41
Andrew Loomis. Underwater Fantasy. Plate from Figure Drawing for A/lit's Worth Walter T. Foster art book.

42 E S T H E T I Q C E
Nonostante pane delle sue opere riscnta di
una certa lcziosita chc ccrtamcntc ne atte-
nua (almena per quanto riguarda il pubblico
maschile) l'impauo "epidenn ico", occorre
riconoscere che Ia Mozert, scomparsa ne l
1993, fu una delle poche artiste del gentil
sesso (le altre f urono Joyce Balla ntyne, Ruth
Deckard e Pearl Frush) a sopravvivere age-
volmente - fone di una preparazione tcc-
nica di tutto rispetto e di una notevolissima
sensibilit.a espressiva- in un settoreartisti-
co pensato per i maseru e (almeno numeri-
camente) dominato dai maschi.
Lo "stile B&B" ebbc - come si accennava
prima-diversi seguaci ed imitatori, inpar-
ticolare nel settorc dei calendari. II maggio-
re concorrentc di Brown & Bigelow fu La
Shaw-Barton Company d i Coshocton, nel-
l'Ohio (peraltro fondata da loro ex dirigen-
ti), che nel 194 I pubblico un celebre calen-
dario a immagine unica intitolato Going
Places, il cui autore era quel MacPherson
che Brown & Bigelow avevano avuto souo
contralto per tre anni. All'inizio del 1946,
congedatosi dalla Marina degli Stati Uniti, Pin-up artist Earl Moran in his studio.
MacPherson riprese a dipingerc calendari
nel suo idiosincratico stile da "quademo
degli schizzi" (che venne imitato in partico- gli anni '40 e i prim i anni '60, affidandoli ad }ann of the Jungle), Art Frahm e il non
1are dal suo ex assistente T.N. Thompson), artisti d i talento quali Arthur Sarnoff (n. meglio identificato Slattery.
e fu proprio Ia Shaw-Barton a pubblicarli, 1912) e Bill Randall (n. 19 11). Un altro Nessunodei suddetti editori, tuttavia, arrivo
fino al 1957. Occorre anche ricordare che editore, A. Fox, si specializzo- a cavallo mai a minacciare piu di tanto la supremazia
MacPherson c l'autorc dell'unico libro tra gli anni '50 e '60- nella produzione di di Brown & Bigelow. L'unico, vero, temibi-
"didau.ico" mai uscito sulla pin-up art , pin-up calendars le cui immagini metteva- lissimorivalcdc llafactorydi SL Paul fu una
pubblicato nel I 954 da Walter T. Foster no scm pre in panicolare evidenza le mutan· bella rivista di grande fonnatochc per molti
nella sua celebre collana ed intitolato Pin- dine delle girls: tra i !oro au tori spiccavano amanti della pin-up art rappresento(e ancor
up Art: How to Draw and Paint Beautiful Jay ScottPike{n. 1924), un artista spccializ- oggi rapprescnta) un veroe proprio "scrigno
Girls. Un'altra cditrice, Ia Kemper-Thomas zato ne l ritrarre soggeui femm inili anche deltesoro": stiarno parlando, natural mente,
Company di Cincinnati, pure neii'Ohio, peri comic books (dovesi occup(>, tra l'altro, di Esquire .
produssc moltissimi pin-up calendars tra di "tarzanicli" quali Lorna the J ungle Girl e

Nude painting by Earl Moran.

P I .t\ U P A R T 43
Good girl art by RoH Armstrong, ca 1949. e> Brown & Bigelow

44 E S T H E T I Q C E
Gil Elvgren with Marlene Reilly, one of his models, in 1951. Roxanne, a pin-up girl by Gil Elvgren. © Brown & Bigelow

n the left bank of the Mississippi, 1920's and 1930's, Rolf Armstrong ( 1889- rather customary in the 20's and 30's, yet

0 in South-eastern Minnesota, the-


re lies SLPaul, the capital city of
that state since 1858. Founded in 1820 by
1960) was B&B's top artist. A fonnerboxer
and champion yachstman who had studied
at the Chicago Art Institute, Armstrong
their exotic/dreamlike settings contributed
to keep them far from everyday reality (and
from censorship). With theoutburstofWW2,
skin traders, St. Paul is today (together with created a whole series of delicate images, the B&B pin-up calendars went back to
its "twin," Minneapolis) a great industrial most of which done in pastels after live reality. Soldiers needed something which
and agricultural centre. Yet, for at least half models rather than photOs - which was could remind them the most pleasant aspects
a century, St.Paul was also the main source probably why they were so lively and "hot", of the everyday life they had been taken
of US pin-up art. In fact, the first US girlie both when their attitude appeared sophisti- away from, and the B&B girls, with their
calendar was issued in 1903 by Brown & cated and dreamy, and when they looked apparently naive attitude and their fleshy
Bigelow, embellished by a painting by playful and misc hievous. Armstrong was lips, did their best tO incarnate any kind of
Angelo Asti entitled Coleue. Brown & perhaps the first artist who was able to woman- the sister, the friend, the sweet-
Bigelow is the name of the ft.rst and largest conjugate pin-up art with fine art, creating heart. as well as the unidentified "object of
calendar company in the world, which is works which would certainly cut a fine desire" of the American private.
still going full steam ahead today, in its figure in a museum as well as they did on the During wartime, due to the ever-growing
PlatO Boulevard plant in St.Paul. That ft.rs t wail of a barber's shop. request of pin-up paintings, Brown & Bige-
girlie calendar, and its commercial success Up until the Early 40's, the main clients of low "recycled" calendar paintings, or crea-
(over 1,500,000 copies were sold) inaugu- B&B (as well as of other calendar publis- ted new ones, for other fonnats and media,
rated a massive production of calendars hers) we re commercial outfits and - du- such as posters, mini-poster series, post-
feawring sexy girl paintings, which ofcour- ring wartime - soldie rs. Pin-up calendars, cards (known as "mutoscope cards") obtai-
se needed a specialized staff of artists. which consisted of one, six, or twelve illu- nable from a machine at five cents each,
Though it continued to publish any kind of strated pages, were primed leaving enough match boxes, cigarette-cases , and even
calendars, Brown & Bigelow decided to room between the picture and the calendar braces. Painted pin-ups were so popular,
devote a considerable deal of its production dates for the client company to print its own that many an aircraft fuselage was decora-
to painted girls, thus becoming a veritable name and advertisement. Each company ted with them (this peculiar branch of pin-
"pin-up factory". would then distribute the calendars tO its up art being known as "nose art") by non-
Brown & Bigelow's superiority in the pin- custOmers and employees, as a gift a nd/or a professional artists who copied them from
up calendar field (as well as in the pin-up art promotional piece. Consequently, pin-up the B&B calendars or from the Esquire
field as a whole) was largely a consequence calendar distribution was wide, and nudity gatefolds [see Book Two). If, then, a profes-
of its abilily in hiring all the best artists, (if toned down by the artistic medium) was sional pin-up artist happened tO be drafted,
whom it offered alluring wages. During the generally avoided. Nude paintings were the Armed Forces didn't think twice and ad-

PIN UP ART 45
Two pin-ups by Arthur Sarnoff, 1946. © Kemper-Thomas Company

ded art chores to his military dulies: this is Bigelow "factory ",eventually replacing Rolf tiful girl oil paintings were done in a soft.
the case with Earl MacPherson (born 1911) Armstrong as its top pin-up artist. Three almost "ethereal" style, which was certainly
who, after painting two Artist's Sketch Pad years later Moran was working out of his influenced by Sundblom's and had somet-
Calendars for B&B in 1940 and 1941, joi- own studio in Manhattan, where he created hing in common with Peter Driben's cover
ned the U .S. Navy and decorated the Ward his finest pastel paintings, drawing inspira- paintings for Robert Harrison's magazines.
Room with huge pin-up painlings. tion from the curves of many a gorgeous Elvgren also did memorable pin-ups for
ln 1941, Esquire magazine started selling model, including young Marilyn Monroe several Coca-Cola advertising campaigns.
its pin-up calendars by mail and through and Jayne Mansfield. After leaving Brown Apart from his early renderings, Elvgren
retailers . Thus a new, hitherto unexplored & B igelow in 1958, Moran continued pain- was the only pin-up artist who worked at top
market was fo und for pin-up art, and Brown Ling female nudes as private commissions levels during his thirty-odd-year tenure with
& Bigelow naturalJy plunged into it, coun- unlil abouttwo yearsbefore hisdeath, which B& B, as well as one of the few who created
tering Alberto Vargas's "statuesque" g irls took place in Santa Monica, California, on picllU'es which are not at all affected by the
with its more easy-going, yet equally sen- January 17, 1984. passing of time. Led to an untimely death by
suous pictures. These were created, through The great Gillctle A. Elvgren (1915-1980) his excessive fondness for alcoholic drinks,
the 40's and 50's, by a number of highly- became fond of painting and colours at an E lvgren has long been considered a son of
talented anists which included Earl Moran, early age, perhaps because his father owned "second-choice Vargas", yet today - at
GilElvgren,Zoe Mozen, Ted Withers, K.O. a large paint store in St. Paul, Minnesota. long last - his incredible talent has been
Munson, AJ Buell, Freeman Elliot, Jules After studying at the American Academy of recognized and prices fo r his original pain-
Erbit, Fritz Willis, and many others. Yet it Fine Art, Elvgrcn became a full-ncdged tings have gone over the top.
was mainly the first three of them who made illustrator when he joined the Haddon Sund- It was in the mid-1930's that Alice Adelaide
the history of pin-up an. blom studioinChicago.ForSundblom (who Moser (born July 4 , 1907 in Colorado
Earl Steffa Moran was born on December 8, is universally known for his Coca-Cola po- Springs, Colorado) decided to change her
1893 in Plaine, Iowa. SliiJ in his teens, he ster art), E lvgrcn did mainly advertising name into the more exotic Zoe Mozen.
fell in love with illus tration, carefully stu- illustrations, working together with other After learning the basics of illustration and
dying the works of such greats as Charles great artists such as AI Buell , Andrew painting from Thornton Oaldey (himself a
Dana Gibson, James Montgomery Flagg, Loomis, and Harry Ekman. From the 1930's discipleofN. C. Wyeth), Mozert worked for
and Coles Phillips. After studying a t the onwards, he devoted himself mainly to pin- a while as a shop-window decorator in
Chicago Art Institute and the An Students up art, painting calendars, posters and post- Philadelphia before doing herftrstfew pastel
League in New York, Moran worked as an cards for the Louis F. Dow Company of St. paintings portraying beautiful girls (circa
apprentice printer, and later as a fashion Joseph, Missouri, and later (from 1945 1933). Until 1940, her illustrations graced
designer. In 1934, he joined the Brown & onwards) for Brown & Bigelow. His beau- the covers of such magazines as Romantic

46 E S T I I E T I QL E
Pin-up by Joyce Ballantyne. Gag: "'can never get things straight.•

P l N II P A RT 47
Two pin-ups by Fritz Willis: plate from the 1962 Artist's Sketchbook Calendar, and Lola (1966). e Brown & Bigelow

Movie Stories, True Confessions, and Screen up artist (others worth remembering were (b. 1911 ). Another publisher, A. Fox, spe-
Book, as well as those of sexy pulps like Joyce Ballantyne, Ruth Deckard, and Pearl cialized in pin-up calendars whose pictures
Paris Nights. In 1938, William Rando lph Frush) who managed to make it big - on almost inevitably focused on girls' panties.
Hearst's American Weekly published twe l- account of her talent and excelle nt taste - They were painted, between the 1950's and
ve of her paintings. Mozert also did several in a field which was do minated by males. 1960's, by such artists as S lauery and Jay
advertising illustrations for Irresistible Per- The "B&B style" had - as we said before ScottPike (bom 1924), who also drew seve-
fume, Dr. Pepper, Kool Cigarettes, and other -several followers and imitators, particu- ral girl characters (including jungle girls
companies. In 1941 , Zoe sent some of her larly as regards the calendar field . Brown & Lorna and Jann) for the comic books.
nude paintings to Esquire's publisher David Bigelow's major competitor was the Shaw- None of the above-mentioned companies
Smart, who looked enthused and bought a Barton Company ofCoshocton, Ohio (foun- ever we nt so far as to seriously threaten
dozen of them. For some reason, though, he ded by former B&B executives), which B&B's supremacy. Competition came from
never published any of them. Shortly after, produced (1941) a famous one-sheet calen- another field, magazine publishing, when a
Orion Winford, an art director at Brown & dar entitled Going Places. Its author was beautiful, large-sized monthly started ap-
Bigelow, offered an exclus ive contract to Earl MacPherson, who had been a B&B for pearing in 1933, eventually becoming a
Mozen, who d idn't think twice and joined three years. Early in 1946, after serving in veritable treasure chest for pin-up art col-
the ~pin-up factory" staff. Her ftrSt female the U.S. Navy, MacPherson started painting lectors. Tha t magazine was Esquire.
nude for B&B, Sweet Dreams, was the pin-up calendars again in his idiosyncratic
company's top seller for 1943. Mozen's "sketchbook" style (later imitated by his
delicate pin-ups continued to appear under former assistant, T .N. Thompson), which t. Paul, capitalc du Minnesota de-
the B&B imprint until the mid- 1960's(when
the artist was being paid between $ 4,000
and S 5,000 for each o f them), yet she was
were published by Shaw-Barton untill957.
It must also be remembered that MacPher-
son authored the only ex isting "didactic"
S puis 1858, a etc batie sur Ia rive
gauche du Mississippi, dans Ia par-
tie sud-orientale de cct ctaL Nee en 1820,
able to made a name for herself in other book on pin-up art, published by Walter T. commebasepour lescommcrcantsen pcaux,
fields o f illustration, too: the mo vie poster Foster in his famous art book series, e ntitled e lle est aujourd'hui, avec sa "jumelle" Min-
she did for 1943's The Outlaw, portraying Pin-up Art: How to Draw and Paint Beau- neapolis, u n centre commercial rcmarqua-
sexy bomb Jane Russell. is a case in point. tiful Girls (1954). ble et unimportant marchc de blc, de bovins
Though some times Mozert's pin-up pain- Another company, Kc mper-Thomas of e t de porcins. Mais, cc qui nous imcresse le
tings look a bit too affected, and lack the Cinc innati, Ohio, produced several pin-up plus de celte ville, c'est que St. Paul a Ct£
"neshy" quality which more attracts the calendars between the 1940's and 1960's, aussi le plus grand centre de production de
male public, no one can deny that she was entrusting them to such talented artists as l'art pin-up madein USA.C'esten 1903qu'a
(Mozert died in 1993) the only female pin- Arthur Sarnoff (b. 19 12) and Bill Randall etC public, par B&B, un girlie calendaromc

48 E S T H E T I Q U E
d'une pcinture de Angelo Asti intitulec Co- Jusqu'au debut des annees 40, les entrepri- leur production, surtout parce que les For-
leue. D'aillcurs, Brown & Bigelow est cer- sescommercialesainsiquelessoldats,durant ces Armees reclamaient plus de pin-ups. lis
laincmcntle nom de La premiere maison d'e- uniquement Ia pCdiode de Ia guerre, furent "recyc lcrent" les iII ustrations des calendriers
dition Ia plus imponante de calendriers du lcs principaux clients de Brown & Bigelow et en crccrent de nouvelles pour d'autres
monde. Son siege social sc trouve, encore (tout com me ceux d'autres &liteurs sp&:ia- formalS Cl d'autres medias. Les "jolics pou-
aujourd'hui, Plato Boulevard, dans Ia ville lises dans Ia production de calendriers). On pees" griffl~es B&B apparurent sur des affi-
de St. Paul. Ce premier calendrier, centre imprimait lcs calendriers avec pin-ups, ches, des series de mini-poster, des cartes-
sur Ia femme, ainsi que son succes commer- pouvant contenir une seule illustration, ou postales (appelees mutoscope cards) que
cial, puisqu'on en vend it plus d'un million et bien six, voire douze (une pourchaque mois I'on pouvait se procurergriice a des distribu-
demi d'exemplaires, favoriserentla produc- de l'annee). avec un espace blanc entre Ia teurs automatiques a cinq cents l'une, ou
tion en strie de girlie calendars e t par con- pin-up et lcs dates, pour pcrmettre d'appli- encore sur des boites d'allumenes, des por-
stqucnt Ia creation d'une equipc d'artistes quer le Limbre des differcntcs entreprises t.e-cigarenes et meme des bretelles (pour
specialists dans Ia realisalion d'illustrations qui veillaient par Ia suite a distribuer ces hommes, bien entendu). Ces pin-ups eurent
toujours plus scnsuelles et allusives. B&B, calendriers a leurs clients ou employes un tel succes que des anistes non profes-
tout en conlinuanl a realiser des calendriers commc "cadcau de fin d'annee" ou pour sionnels peignirent sur le fuselage d'avions
de toute sortc, jugerent opponun de dedier fairc de La publicite. C'estdonc pourquoi les decombatles "jolies poupees" qu'ilsavaiem
une "tranche" considerable a leur produc- calendriers avec pin-ups etaient abondam- copiecs des calendriers de Brown & Bige-
tion de "jolies poupees pcimes". Sous bien ment diffuses et que Ia nudite (bien que low, ou bien des pages centrales de Esquire
des aspects, ils se transformcrem en une mitigee par Ia reproduction artistique) eta it [voir le deuxicme tome]. C'cst ainsi qu'ils
veritable "usine des pin-ups". gcncralementevitee. Ce futdurantlesannees inaugurerent un secteur "peripherique" de
La superiorite de Brown & Bigelow dans le 20 etles annees 30 que les illustrations de !'art pin-up qui devint celebre avec le nom
secteur des pin-up calendars et de I'art pin- nus sur les pin-up calendars connurentleur de nose art, car nose designait justementle
upen general, fut determinec par leur habi- plus grande diffusion, mcme si le fait d'a- f usclagede l'avion. S'il ani vail ensuitequ'un
lcte a s'assurer Ia collaboralion de presque voir place ces nus dans un contexte "exoti- artiste renomme dans !'art pin-up soit enr6-
tous les meille urs artistes dans cette bran- co-onirique" contribuaitlargement a mettre le, les Forces Arrnees americaines ne lais-
che. lis allcrcnt meme jusqu'a lcs "voter" a des dis tances entre ces illustrations etla vie saient pas echapper !'occasion d'ajouter au
Ia concurrence avec des proposiLions finan- de to us lcs jours. A vee Ia Deux ieme Guerre devoir militaire decedemier, celui d'egayer
cicrcs trcs avantageuscs. Pendantles annecs Mondialc, ces pin-ups furent, pour ainsi les troupes avec ses illustrations chatouil-
20 et 30, Rolf Armstrong (1889-1960), fut dire, repartees a Ia rCalite: les jeunes du lantes. C'est cc qui se produisit avec Earl
certainement leur element le plus presti- front avaient besoin de quelque chose qui MacPherson (ne en 1911), qui, apres avoir
gieux. Ce demier, ex-boxeur et skipper leur rappelle les aspects lcs plus agreables realise pour Brown & Bigelow deux Artist's
repute, qui avait r~u sa formalion artisliquc dece quotidien d'ou on les avaitarraches,et, Sketch Pad Calendars en 1940 et 1941 , fut
au Chicago An Institute, crea toute une serie les reproductions des girls de B&B avec recrute en Marine et put ainsi decorer avec
d"illustrations dclicates, presque toutes rea- leur auitudc un peu puerile, leurs jambes
lisees avec des couleurs pastel s'inspirantde bien roulecs, leur componement apparem-
modeles plut6t que de photos. Peut-etre ment na:if et leur bouche pulpeuse, faisaient
s'agissait-il Ia de !'aspect qui differenciait de leur mieux pour remplacer, dans cctte
les pin- ups d'Armstrong de celles des autres ambiguitC de fond, tant6t Ia sreur, tant6t
anistes qui etaicnt ses contemporains. Ce la l'amie sincere, tant6t Ia girl-friend, tant6t
les rcndait plus vivantes et plus "chaudes", "eel objet du desir" du private americain.
aussi bien quand elles prcnaient des poses Ce fut justement pendant Ia periode de Ia
sophistiquees et reveuscs qucquand elles se guerrcque Brown & Bigelow diversificrent
montraiemcoquines etludiques. Armstrong
futpcut-etrcle premier qui concilia l'artpin-
up avec !'art "serieux" car il composa des
reuvres qui pouvaient faire unc bonne im-
pression aussi bien sur le m ur d'un salon de
barbier que sur celui d'un musee.

-~
'
____
-.-,-,.-,.__---....

Hawaiian girl by Earl Mac Pherson from Pin-up Art: How to Draw and Paint Beautiful Girls (1954), a Walter T. Foster art book.

P I 1'\ U P A R T 49
Fetish srtuations in two pin-up artworks by Gil Elvgren. © Brown & Bigelow

ses pin-ups les postes de garde e t les loge- de magniliques modeles, parmi lesquc lles style de ses trcs belles girls et.ait "souple",
ments pour les officiers. on pcut c iter Marilyn Monroe et Jayne parfoisethcre; il subissaitprobablement l'in-
En 1941, Esquire inaugura Ia veme au detail Mansfield qui et.aient tres jeuncs e t encore nuence de Sundblom et il possedait des
de pin-up calendars par correspondance, il inconnues aCCllC epoque-la. Moran realisa elements communs avec celui de Peter
ouvritlesportesa un marchequijusqu'aJors aussi des illustrations publicitaires pour Driben pour ses couvertures deBeaucy Pa-
eLait inexplore. Brown & Bigelow s'y jete- Sears, Roebuck & Co, des couvertures de rade et des autres revues de Robert Harri-
rent Ia te te la premiere, ils opposerent aux magazines com me Life ctBeauty Parade (il son. Les pin-ups que Elvgren dessina pour
girls sculpturales d'Aiberto Vargas les illu- etait aussi co-ed.iteur de ceue dcmiere re· plusieurs campagnes publicitaires de Coca-
stratio ns plus "coquines" mais tout aussi vue, comme on l'a deja signaJe) et des affi- Cola furent aussi memorables. A pan ses
sensuelles crcecs par leurs artistes. Pendant ches de c inema (com me celle pour Somet- tout pre miers essais, Elvgren futle seul des
les annees 40 et 50, Ia company de S t. Paul hingfor the Boys, 1944). Lorsque se term ina pin-ups artists de Brown & Bigelow qui
pouvait compter sur des noms de tres grande sa collaboration avec Brown & Bigelow continua a conserver dans ses dessins un
vaJeur comme Earl Moran, Gil Elvgren, ( 1958), Moran peignit des nus fcmin ins t.rCs hauL niveau de perfection. Mais il ful
Zoe Mozert, Ted Withers, K.O. Munson, pour des commissionnaires privcs jusqu'a surtout celui qui crea des illustrations "inda-
Freeman Elliot, AI Buell, Jules Erbit, Fritz deux ans avant sa mort. n s'eteignit le 17 tables" encore aujourd'hui aJors que cin-
Willis ct bien d'autres e ncore. Mais ce fu- a
janvie r 1984 Santa Monica, en Califomie. quante ans se som deja ecoules. Mort pre-
rent surtout les trois premie rs qui "marque- Ce fut tres tot que !'amo ur pour !'art et lcs mature ment a cause de son gout excessif
rent" l'histoire de l'art pin-up. couleurs naquit chez le grand Gillette A. pour l'aJcool, on a longtemps considere
Earl Steffa Moran, ne le 8 decem bre 1893 a Elvgre n ( 1915-1980), probablement parce El vgren une sorte de "Vargas des pauvres",
Plaine dans !'Iowa, sc consacra a!'illustra- que son pere etail proprietaire d'un grand mais hcureuscmcnl aujourd'hui, on com-
tio n, aJors qu'il n 'l~t.ait qu'un adolescent, il magasin de peintures a St. Paul dans le mence a re ndre justice a son incroyable
suivit les l~ons de Charles Gibson, James Minnesota. Apres ses etudes a !'American talent; d'ailleurs ses a:uvres ont aueint des
Montgomery Flagg ct Coles Philips. Apres Academ y of Fine Arts, Elvgren s'est surtout prix faramine ux.
scsetudes au Chicago An lnstilutcet a I'Art consacre a !'illustration publicitaire. 11 a Alice Adelaide Moser (nee le4 juilletl907
Students League de New York, il travailla travaille aChicago c hez Haddon Sundblom a Colorado Springs) decida de changer de
comme aide-typographe, puis comme dcs- (le celebre auteur des aflichcs de Coca- no m, vcrs lc debut des annees 30, el choisit
sinateur de mode. En 1934, il pcrcra a Ia Cola) avec d'autresartistes de la trempc d'Al Zoe Mozertqui lui semblait plusevocateur.
factory de Brown & Bigelow, e til re mplacra Buell, Andrew L oomis et Harry Ekman, Elle fut init.iee aux secrets de l'iUustration
progressivement Rolf Armstrong en qualite avant de se dedjer a I'art pin-up. A partir des par Thomson Oakley, eleve du grand N.C.
de principal pin-up artist. Trois ans plus a nnees 30, il a realise des calendrie rs, des Wyeth el travailla pendant uncertain temps
tard, Moran ouvrit un studio a Manhattan. affiches et des cartes-posrales pour la Louis comme etalagiste a Philadelphie avant de
Ce futla qu'il crea scs plus belles pcintures F. Dow Co. de St. Joseph, au Missouri, el (a realiscr, ve rs 1933, scs premiers pastels fc-
pastel, s'inspirant des courbcs somptueuses partir de 1945) pour Brown & Bige low. Le minins. Jusqu'en 1940, ses illustrations

50 E S T II E T I Q C E
Leg art in two pin-up artworks by Gil Elvgren. <Q Brown & Bigelow

egayerent les couvertures de revues telles attenue ainsi !'impact "epidermique" (tout l'auteur du seul livre "didactique" sur l'art
que Romantic Movie Stories, True Confes- du mains pour ce qui conceme le public pin-up, pub lie en 1954 par Walter T. Foster
sions et Screen Book, mais aussi des sexy masculin), il faut reconnaitre que Zoe dans sa celebre collection, avec Ie titre sui-
pulps comme Paris Nights. En 1938l'Ame- Mozert, morte en 1993, fut une des rares vant: Pin-up Art: How to Draw and Paint
rican Weekly de William Randolph Hearst artistes femmes (Joyce Ballantyne, Ruth Beautiful Girls. Une autre maison d'edition
publia douze de ses dessins. Zoe Mozert Deckard et Pearl Frush en furent aussi du la Kemper-Thomas Company de Cincinna-
reaiisa aussi de nombreuses illustrations pu- nombre) qui put survivre aisement dans une ti, toujours dans l'Ohio, produisit de tres
blicitaires pour des commissionnaires branche artistique faite pour les hommes et nombreux pin-up calendars dans Ia periode
comme Irrestible Perfume, Dr. Pepper et dominee (tout du mains numeriquement) qui vades annees 40 au debut des annees 60.
Kool Cigarettes. Vers 1941, Zoe envoya par Ies hommes. Elle arriva a ce resultat On confia leur realisation a des artistes de
quelques-uns de ses nus feminins a David grace asa soli de preparation technique et a talentcommeArthurSamoff(neen 1912)et
Smart, editeur de Esquire; ce demier en fut sa tres grande sensibilite artistique. Bill Randall (ne en 1911). Un autre editeur,
enthousiaste et en acheta une douzaine, Le "style B&B" eut, comme nous l'avons A. Fox, se specialisa, acheval sur les annees
pourt.ant, pour une raison qui nous echappe, deja evoque, differents emules et imita- 50 et60, dans Ia production de pin-up calen-
il ne les publia jamais. Peu apres, Orion teurs, surtout dans le domaine des eaten- dars dont les illustrations mettaient tou-
Winford, directeur artistique pour Brown & driers. La Shaw-Barton Company de Cos- jours en evidence les petites culottes des
Bigelow, offrit a Zoe Mozert un contrat hocton dans I'Ohio fut Ia plus grosse concur- girls: parmi leurs auteurs, on remarque Ies
d'exclusivite a des conditions tres avanta- rente de Brown & Bigelow; ceue societe fut noms suivants: Art Frahm, un artiste connu
geuses que l'artiste se fit un plaisir d'accep- d'ailleurs fondee par quelques ex-dirigeants sous le nom de Slattery etJay Scott Pike (nt
ter. Son premier "nu feminin" pour B&B, de B&B. En 1941, cette demiere publia un en 1924), celebre pour ses sujets feminins,
Sweet Dreams, fut !'illustration Ia plus ven- celebre calendrier n'ayant qu'une illustra- presents aussi dans les comic books ou il
due de Ia societe de St. Paul en 1943. On tion dont Ie nom etait Going Places creee dessina entreautresLorna the Jungle Girl et
continua a publier les delicates pin-ups a par ce meme MacPherson qui avail signe, ]ann of the Jungle.
poi! de~ Mozert pour le public de Brown auparavant, un contratavec Brown & Bige- Aucun des editeurs que nous avons men-
& Bigelow jusqu'a Ia moitie des annees 60 low d'une duree de trois ans. Au debut de tionnes ne parvint jamais a ebranler Ia su-
(lorsque pour chacune d'entre elles, I'artiste 1946, une fois termine son service dans Ia prematie de Brown & Bigelow. Le seul et
touchait de 4000 a 5000 dollars). Mais, cette Marine des Etats-Unis, MacPherson recom- unique rival redoutable de Ia factory de St.
artiste put aussi se distinguer dans d'autres men~ a peindre des calendriers dans un Paul fut une belle revue de grand format qui
branches de !'illustration: son affiche pour style tout a fait personnel de "camet d'ebau- representa et qui represente toujours pour
le film The Outlaw (Le Banni, 1943) avec Ia ches" qui fut d'ailleurs imite par son ex- les amoureux de l'art pin-up une veritable
"bombe sexuelle" Jane Russell fut memora- assistant T.N. Thompson. Ce futjustement "coffre au tresor": et nous sommes, naturel-
ble. Bien que Ia plupart de ses reuvres soient laShaw-Bartonqui lespubliajusqu'en 1957. lement, en train de parter d'Esquire.
empreintes d'une certaine mievrerie qui Il faut aussi rappeler que MacPherson est

PIN UP ART 51
Earl Moran
Girlie calendars and pin-up photos

52 E S T H E T I Q U E
P TN TJ P A RT S~
Pages 52·55: Pin-ups from mutoscope cards and girlie calendars produced by Brown & Bigelow. © Brown & Bigelow

54 ES T H ET I Q U E
WHY-WB'RB
BARELY ACOUAJNTBD

PI U P ART 55
.\'o kisses, and a girl a111l
her !toney arc soon par/rd.

In these pages: Norma Jean Dougherty (future movie star Marilyn Monroe) in some photos («!> Playboy) shot by Earl M oran (1946-48) ...

56 E S T H E T I Q U E
... and pin-ups painted by the artist from those shots. © Brown & Bigelow

PIN U P AR T 57
Time to Call. <!:> Brown & Bigelow.

58 E S T H E T I Q U E
Marilyn Monroe nude painting, Late 1940s.

P I ~ C P A HT 59
Gil Elvgren
Girlie calendars and pin-up paintings

60 E S T H E T I Q U E
PIN UP ART 61
62 E S T I I E T I Q U E
PIN UP ART 63
"This skin / love to touch."

6ft EST II ET I QC E
Hey Honey... it's a cinch!

PI UP AR T 65
66 EST II ET I QUE
PI U P AR T 67
68 ESTHETIQUE
Above: .. Nothing to sneeze at." <!:> Brown & Bigelow
Pages 60-68: Pin-ups for Brown & Bigelow reproduced from original posters and girlie calendars. e Brown & Bigelow

PIN UP ART 69
Earl MacPherson
Pictures from
«Artist's Sketch Pad Calendars»,
«Pin-up Art: How to Draw and Paint Beautiful Girls»,
and pin-up photos

70 E S T II E T I Q t.; E
THE PASTELS are a pplied with my finger tips, to give a flesh-l ike qua lity and ,,-a te r color is used with small brushes
fo r detail in the eyes and teeth. Note a lso the use o f p rops, such as hats, aprons, etc.. which are an im portant part
of the pose. The o ri ginals of these illust rations are 21"' x 28"' overall , which is large enoug h for all reproduction
purposes a nd also a convenient painting size.

P T TT P A P 'T 71
1->AINTINa -the 1i1N-U1'

,,

\ '\

\ 1:
\{I
~ '

THE ADO\'!:: illust rations arc from th e l\ lacPhcrson Sketchbook. an annual advettising ralendar, produced by the
Shaw-Barton Co. of Coshocton. Ohio, with a distribution of over a million ropics. Thc~e illustrations arc for your
study, particularly in the use o f color and al~o to aid in thf' training o f vour mod e l~. The medium used is pastel
and water color.

Pages 70-73 : Drawings and pages from Pin-up Art: How to Draw and Paint Beautiful Girls art book, Walter T. Foster, 1954.

72 ES THETJ QUE
I

I
·" ~<;·?··~.
tl.

~~ r;, . .,, . : .............

' ~"""" ·-
~ N. \1,. ":::.: r~ ,."- "' .
r.::M ,...i' ·'

P TN TT P A RT 7~
Top: Betty Morelius posing for a MacPherson pin-up girl painting (right) in the Early 1940s.
Above: Lili in a photo shot by the artist, and a plate from the 1941 Artist's Sketch Pad Calendar(© Brown & Bigelow).

74 EST H ET I Q uE
I$ f,y (fo.ll...'U
rr. _.;_ ......... _ ...
......................
""' ......... _ .. .,;,.M
,..,_,.,.,"L)~ f

• ·•
,
~Ate"~ ~ •
J: • .. ~ •
., I )J u~ u 1:. tt
'.l l.f~11t;'fl_..,
:' :~ :.J ~ ..... ~.. :,,
:s .. .)..'
~ \1

~-Au'1'.sl
~ .- C' "' <" T t
' .! J .. ' • 1
, p. 1.: 1.1 14
ID II
,, '" ,, u
:, ,... ,,
"'~ :J
..!.:~,~~~:7.:1

Minta Hoia (above left), Earl MacPherson's favourite model, posed for the 1954 Artist's Sketchbook Calendar, titled Hunter's Guide (~ Shaw-
Barton). All pictures on this and previous page are from the book Memoirs of Earl MacPherson. ~ Earl MacPherson

P T T1 P A R 'r 7C\
Zoe Mozert
Brown & Bigelow girlie calendars
and mutoscope cards

76 E S T H E T I QU E
All pictures on this and following page are copyright CO Brown & Bigelow

PI N U P AR T 77
Introduction
5
Sexy Pulps & Girlie Magazines
8
A1argaretBrundage
20
Harry Parkhurst, Hugh J. Ward, Jo hn Newton Howitt...
24
Enoch Bolles
28
Peter Driben
32
Brown & Bigelow: the Pin-up Factory
38
Ear/A1oran
52
Gil Elvgren
60
Earl A1acPherson
70
Zoe Mozert
76

Above: Earl Moran, pin-up girl from his 1949 Brown & Bigelow calendar. © Brown & Bigelow
Opposite : Gil Elvgren, plate from his 1952 Brown & Bigelow calendar. © Brown & Bigelow
Final page: AI Moore, plate from the 1950 Esquire Girl Calendar. © Esquire Associates
The Golden Age of PIN-UP ART
Book One
Testi I Text: Alberto Becauini

Redazione I Editorial staff: Riccardo Morrocchi, Stefano Piselli

Ricerca fonti I Research: Alberto Becattini, Riccardo Morrocchi, Stefano Piselli

Grafica e impaginazione I Concept & design: Stefano Piselli

Traduzione inglese I English translation: Alberto Becauini


Traduzione francese I French translation: Susanna Longo

Stampa I Printed by: C.E. Nerbini, Firenze

Copertina I Cover: Gil Elvgren © Brown & Bigelow


Retrocopertina I Back cover: Peter Driben

II copyright delle immagini riprodotte a fini di studio e documentazione


si intende dei singoli autori e/o editori o di chiunque altro ne detenga i diritti

This book contains photos and drawings


included for the purpose of criticism and documentation
All pictures copyrighted by respective authors, publishers
and/or other copyright holders

© Copyright dell' opera: Glittering Images edizioni d'essai, Firenze


Tutti i diritti riservati. Tous droits reserves. All rights reserved

Printed in Italy
Firenze, Dicembre 1994
To be continued in Book Two ...
E 0 T li E T I QU
FETISH &BIZARRE
E

Per Adulti - For Adults Only - Pour Adultes

GLITTERING
I M A G E S
edizioni d'essai