ttlBOOK ONE
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0 T li E T I
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0 T li E T 1 o_u
Jar
Soplzislica!ed
collectors o/ !lze
Zlnusual
tnBOOK 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
Halftltle 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
trano dunque- a nostro parere - nell'ortodossla de lle pin-ups anc he queUe immagini chc-una volta estrapola te dal medium
c ui era no state in originedcstinate (lacopertina di un libro, per cscmpio, oppure di un
alboa fumetti)- possanocsscrc tranquillame nte appuntate ad una parctc, magari all'inremo di un'elcgante cornice.
In q ues to volume c i propon iamo di tracciare
un'agi le storia della pin-up art negli Stati
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
di riviste, calcndari, paperbacks, c soprattullo ricorde re mo i princ ipali autori che
rive rsaro no gran parte del !oro tale nto in
questo particolarissimo ambito artistico. In
questo nostro viaggio ci accompagneranno
que lle stcsse, bcllissime immagini che hanno fa tto sognare intcrc generazioni, ncl cui
policromo marc - per citare uno dc i nostri
massimi pocti - ci sara sempre dolce il
naufragare.
hat is pin-up art? Literally, a pinup should beagirl painting(done
in such techniques as pastels,
gouache, watercolours , or oils) conceived
to be hung on a wall - like a poster, or a calendar. Yet a pin-up, to deserve this name,
must have precise c haracteristics: these
inc lude the painted girl's posture, which has
necessarily to be sensual; or the clothes the
girl is wearing, which will contribute (by
deliberate!y uncovering o r revealing, thanks
to their transparency, the "ho tter" parts of
her body) to make the image more erotic.
PIN UP ART 5
BAKE UP
AND
LIVE
Cover featuring Betty Grable from Movie Story Magazine, December 1942.
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.
la jeune fille La seule hcro"ine de J'illustration. Toutefois, des compromis au "contexte" de pcu d'importance peuvent etre represemes par des elements "fonctionnels" tels
que des marionnettes representant des
hommes (qui symbolisent le contr6le, de la
pan de Ia pin-up, sur l'homme-observateur),
ou bien de tout petits chiens (qui, avec leurs
mouvementscontinuels peuventsoulever la
jupe de leur proprictaire), ou encore des
objets hct.Croclites (qui possectent si possible, des connotations phalliques). Quant a
nous, nous ne voulons pas etre aussi catcgoriques, et nous pensons que lcs images "contextualisees" (c'est-a-dirc lcs imagesaccompagnees d'un background el/ou de Ia presence d'un personnage masculin) sont de
tres bons exemples de pin-up pourvu que
l'element feminin rcstc Ie protagonistc inconteste et qu'il conserve Ie charisme et Ia
sensualite dont nous avons deja pari c. Scion
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
PI:\" U P
ART 9
quale seppe creare- in uno stile volutamente sospeso tra il realistico e il caricalUrale - un modello d i provocante femminilita. carallerizzato da una larga bocca quasi sempre aperta in un sorriso ammiccante e incomiciata cia un rossetto intenso
- e daocchi semichiusi,cclati da un trucco
pcsante. A rincarare Ia dose di erotismo
delle fi gurazioni di Bolles, e finanche a
suggerire che Ia pin-up stesse mimando un
rapporto sessuale, provvedeva poi Ia costante presenza di oggetti piil o meno esplicit.amente fallici (selle, innaffiatoi, ancore,
spade, ecc.). Degni "seguaci" di Bolles furono George Quintana, Ray A. Burley, Earle
K . Bergey e Peter Driben. Di alcuni di loro
avremo modo di riparlare piu oltre.
La prcsenza femm inile fu semprc costante
anche sulle copertine dei pulps "avventurosi", e in alcuni casi si puo parlare a huon
diritto di pin-up art: si vcdano, ad csempio,
leardite, inquietanti figurazionidi Margaret
Brundage per Weird Tales ( 1932-45), le
curvilinee ragazze spaziali ritratte da Earle
Bergey per Litoli fantascientifici quali Startling Stories (c. l939-50) o Captain Future
(1941-45), o ledamsels in distress spogliate
e vinimizzatecla maniaci escienziati pazzi,
ritraue cia William Reusswig, John Newton
Howitt, Charles Blaine, Rafael M. DeSoto
edaltri per Dime Detective Magazine,Dime
Mystery Magazine, Terror Tales, Horror
Stories, Romantic Detective, Private Detective Stories ed altre testate consimili, pubblicate soprauutto dalla Popular Publications e clalla Trojan Publishing. Fu proprio
quest'ultima casa editrice, che aveva Ia s ua
sede a Wilmington, nel Delaware, a lanciare, nell'aprile del 1934, i cosiddetti spicy
pulps, che proponevano racconti ne i quali
l'avventura e Ia suspense procedevano di
pari passo con Ia violenza e l'erotismo.
10 ESTH ETIQUE
George Quintana, March 1934.
rade- Glorifying the American Girl. L'America era enuata in guerra da pochi mcsi,
e-comegitleraaccadutoaJie rivisLC "scollacciate" dcgli anni '10 - i soldati costituirono (almcno all'inizio) una fetta considcrevole dci leuori di Beauty Parade. Per Ie
copertinc - anche per evitare guai con Ia
censura - Harrison penso bene di non
usarc fOlo, rna prefer! continuare Ia tradi.done delle painted covers, e lo fcce assicurandosi prima di tutto i servigi di quell'ottimo
PeLCr Dribcn che, nella seconda melt~ degli
anni '30, avcva abbell itocon le sue tcmpere
lecopertinedi riviste quali Gay Parisienne,
r~olErt
~ 35~
October,
l93S
IUEE1
P I N UP ART 11
sliltlE;lilES
25*
.JUNE
1933
IilES
sliiii.E;IAES
25*
AUGUST
1933
Exoticism on some covers from Tattle Tales, a spicy pulp magazine of the Thirties. Illustrations by Artist(s) Unknown.
12 EST HE T l QUE
Famous history and literature women characters on cover. Artist(s) Unknown, Bedtime Stories, July, October and May 1933.
.JUNE
DUBARRY
1933
with daily survival problems. The publishers obviously tried to favour their readers
by offering them cumulative subscriptions:
in 1935, a three-month sub to five different
titles costS 3.75 - corresponding 10 over
three days' wages. On the same Line of the
above-mentioned titles, yet with specific
reference to the cinema and its backstage
stories, were such magazines as Film Fun,
Movie Humor, Movie Merry-Go-Round and
scientists and painted by William Rcusswig, John Newton Howiu, Charles Blaine,
Rafael M. DeSoto and many others for such
titles as Dime Detective Magazine, Dime
PIN UP ART 13
HAVANA NIGHTS
bl<oa~
14 ESTHETIQUE
Too
Mueh
Temptation
By
Gerard Ravel
Unsigned cover, probably by Enoch Bolles, from Gay Parisienne, January 1937.
PI - UP ART 15
Three covers by Earle K. Bergey from Gay Broadway (Summer 1935, Fall1937) and La Paree Stories (May 1934) pulp magazines.
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).
"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
l5<
HOW CHORUS
......
" Ktw......
---.
MAOUINI
18 E ST H E T I
QC E
PI N
UP ART 19
A1argaretBrundage
Covers for Weird Tales pulp magazine
20 E S T H E T I Q U E
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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
f)
"\HE TlE
-t'\-\A 1' ~U tvDS /
P I N U P ART 29
FOorr:o~
TOOT'S SWIET
30 E S T li E T I Q C E
iHOUGHT/
..,,. ,
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
PARADE
BEAUTY
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 ...
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
38 E S T H E T I Q U E
PI N
U P ART 39
Draw1ng by M11ton Candf from Male Ca// wart1me stnp, Apn14th, 1943.
10 E S T H E T I Q
uE
e M11ton Caniff
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.
le bevande alcoliche, Elvgren estato considcraiO per anni una sorta di "Vargas dei
poveri", rna oggi, per fortuna, si comincia a
render giustizia al suo incredibile taleniO, e
le sue opere hanna raggiunto quotazioni da
capogiro.
Fu nei primi anni '30 che Alice Adelaide
Moser (nata il 4 luglio 1907 a Colorado
Springs, nel Colorado) decise di cambiare il
suo nome nel piu evocativo ~ MozerL
Iniziata ai segreti dell'illustrazioneda Thornton Oakley, allievo del grande N.C. Wyeth,
Ia Mozert lavoro per qualche tempo come
vetrinista a Philadephia prima di realizzare,
intorno al 1933, i suoi primi pastelli a soggetiO fcmminile. Fino al 1940, le sue illustrazioni ornarono le copertine di riviste
quali Romantic Movie Stories, True Confessions e Screen Book, nonc he di sexy pulps
quali Paris Nights, e nel 1938 !'American
Weeklydi William Randolph Hearstpubblico dodici suoi dipinti. La Mozert realizzo
pure moltissime illustrazioni pubblicitarie
per committenti quali Irresistible Perfume,
Dr. Pepper e Kool Cigarettes. Intomo aJ
1941 , ~ invio alcuni suoi dipinti di nudi
femminili a David Smart, ediiOre di Esquire, che se ne most.rO entusiasta e ne compro
una dozzina, anche se per qualche motivo
non li pubblico mai. Subito dopo, Orion
Winford, dircttore artistico per Brown &
Bigelow, offri alia Mozert un contralto in
esclusiva a condizioni molto favorcvoli, e
l'artista accettO di buon grado. II suo primo
"nudo di donna" per B&B, Sweet Dreams,
fu il piu vendutodallacompagniadi SL Paul
nel 1943. Le delicate pin-ups a poi[ della
Mozertcontinuarono ad apparire peri tipi di
Brown & Bigelow fino alia meta degli anni
'60 (quando per ognuna di esse ricevcva tra
i 4000 e i 5000 dollari), rna l'artista ebbe
modo di distinguersi anche in altri settori
dcll'illustrazione: memorabile fu soprattutto il manifesto da lei realizzato per il film
The Outlaw (II mio corpo ti scaldera, 1943),
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
P I .t\ U P A R T 43
44 E S T H E T I Q C E
1920's and 1930's, Rolf Armstrong ( 18891960) was B&B's top artist. A fonnerboxer
and champion yachstman who had studied
at the Chicago Art Institute, Armstrong
created a whole series of delicate images,
most of which done in pastels after live
models rather than photOs - which was
probably why they were so lively and "hot",
both when their attitude appeared sophisticated and dreamy, and when they looked
playful and misc hievous. Armstrong was
perhaps the first artist who was able to
conjugate pin-up art with fine art, creating
works which would certainly cut a fine
figure in a museum as well as they did on the
wail of a barber's shop.
Up until the Early 40's, the main clients of
B&B (as well as of other calendar publishers) we re commercial outfits and - during wartime - soldie rs. Pin-up calendars,
which consisted of one, six, or twelve illustrated pages, were primed leaving enough
room between the picture and the calendar
dates for the client company to print its own
name and advertisement. Each company
would then distribute the calendars tO its
custOmers and employees, as a gift a nd/or a
promotional piece. Consequently, pin-up
calendar distribution was wide, and nudity
(if toned down by the artistic medium) was
generally avoided. Nude paintings were
PIN UP ART
45
46 E S T I I E T I
QL E
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
48 E S T H E T I Q U E
(b. 1911 ). Another publisher, A. Fox, specialized in pin-up calendars whose pictures
almost inevitably focused on girls' panties.
They were painted, between the 1950's and
1960's, by such artists as S lauery and Jay
ScottPike (bom 1924), who also drew several girl characters (including jungle girls
Lorna and Jann) for the comic books.
None of the above-mentioned companies
ever we nt so far as to seriously threaten
B&B's supremacy. Competition came from
another field, magazine publishing, when a
beautiful, large-sized monthly started appearing in 1933, eventually becoming a
veritable treasure chest for pin-up art collectors. Tha t magazine was Esquire.
d'une pcinture de Angelo Asti intitulec Coleue. D'aillcurs, Brown & Bigelow est cerlaincmcntle nom de La premiere maison d'edition Ia plus imponante de calendriers du
monde. Son siege social sc trouve, encore
aujourd'hui, Plato Boulevard, dans Ia ville
de St. Paul. Ce premier calendrier, centre
sur Ia femme, ainsi que son succes commercial, puisqu'on en vend it plus d'un million et
demi d'exemplaires, favoriserentla production en strie de girlie calendars e t par constqucnt Ia creation d'une equipc d'artistes
specialists dans Ia realisalion d'illustrations
toujours plus scnsuelles et allusives. B&B,
tout en conlinuanl a realiser des calendriers
de toute sortc, jugerent opponun de dedier
une "tranche" considerable a leur production de "jolies poupees pcimes". Sous bien
des aspects, ils se transformcrem en une
veritable "usine des pin-ups".
La superiorite de Brown & Bigelow dans le
secteur des pin-up calendars et de I'art pinupen general, fut determinec par leur habilcte a s'assurer Ia collaboralion de presque
tous les meille urs artistes dans cette branche. lis allcrcnt meme jusqu'a lcs "voter" a
Ia concurrence avec des proposiLions financicrcs trcs avantageuscs. Pendantles annecs
20 et 30, Rolf Armstrong (1889-1960), fut
certainement leur element le plus prestigieux. Ce demier, ex-boxeur et skipper
repute, qui avait r~u sa formalion artisliquc
au Chicago An Institute, crea toute une serie
d"illustrations dclicates, presque toutes realisees avec des couleurs pastel s'inspirantde
modeles plut6t que de photos. Peut-etre
s'agissait-il Ia de !'aspect qui differenciait
les pin- ups d'Armstrong de celles des autres
anistes qui etaicnt ses contemporains. Ce la
les rcndait plus vivantes et plus "chaudes",
aussi bien quand elles prcnaient des poses
sophistiquees et reveuscs qucquand elles se
montraiemcoquines etludiques. Armstrong
futpcut-etrcle premier qui concilia l'artpinup avec !'art "serieux" car il composa des
reuvres qui pouvaient faire unc bonne impression aussi bien sur le m ur d'un salon de
barbier que sur celui d'un musee.
'
-~
leur production, surtout parce que les Forces Armees reclamaient plus de pin-ups. lis
"recyc lcrent" les iII ustrations des calendriers
et en crccrent de nouvelles pour d'autres
formalS Cl d'autres medias. Les "jolics poupees" griffl~es B&B apparurent sur des affiches, des series de mini-poster, des cartespostales (appelees mutoscope cards) que
I'on pouvait se procurergriice a des distributeurs automatiques a cinq cents l'une, ou
encore sur des boites d'allumenes, des port.e-cigarenes et meme des bretelles (pour
hommes, bien entendu). Ces pin-ups eurent
un tel succes que des anistes non professionnels peignirent sur le fuselage d'avions
decombatles "jolies poupees" qu'ilsavaiem
copiecs des calendriers de Brown & Bigelow, ou bien des pages centrales de Esquire
[voir le deuxicme tome]. C'cst ainsi qu'ils
inaugurerent un secteur "peripherique" de
!'art pin-up qui devint celebre avec le nom
de nose art, car nose designait justementle
f usclagede l'avion. S'il ani vail ensuitequ'un
artiste renomme dans !'art pin-up soit enr6le, les Forces Arrnees americaines ne laissaient pas echapper !'occasion d'ajouter au
devoir militaire decedemier, celui d'egayer
les troupes avec ses illustrations chatouillantes. C'est cc qui se produisit avec Earl
MacPherson (ne en 1911), qui, apres avoir
realise pour Brown & Bigelow deux Artist's
Sketch Pad Calendars en 1940 et 1941 , fut
recrute en Marine et put ainsi decorer avec
____
-.-,-,.-,.__---....
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 logements pour les officiers.
En 1941, Esquire inaugura Ia veme au detail
de pin-up calendars par correspondance, il
ouvritlesportesa un marchequijusqu'aJors
eLait inexplore. Brown & Bigelow s'y jeterent Ia te te la premiere, ils opposerent aux
girls sculpturales d'Aiberto Vargas les illustratio ns plus "coquines" mais tout aussi
sensuelles crcecs par leurs artistes. Pendant
les annees 40 et 50, Ia company de S t. Paul
pouvait compter sur des noms de tres grande
vaJeur comme Earl Moran, Gil Elvgren,
Zoe Mozert, Ted Withers, K.O. Munson,
Freeman Elliot, AI Buell, Jules Erbit, Fritz
Willis ct bien d'autres e ncore. Mais ce furent surtout les trois premie rs qui "marquerent" l'histoire de l'art pin-up.
Earl Steffa Moran, ne le 8 decem bre 1893 a
Plaine dans !'Iowa, sc consacra a!'illustratio n, aJors qu'il n 'l~t.ait qu'un adolescent, il
suivit les l~ons de Charles Gibson, James
Montgomery Flagg ct Coles Philips. Apres
scsetudes au Chicago An lnstilutcet a I'Art
Students League de New York, il travailla
comme aide-typographe, puis comme dcssinateur de mode. En 1934, il pcrcra a Ia
factory de Brown & Bigelow, e til re mplacra
progressivement Rolf Armstrong en qualite
de principal pin-up artist. Trois ans plus
tard, Moran ouvrit un studio a Manhattan.
Ce futla qu'il crea scs plus belles pcintures
pastel, s'inspirant des courbcs somptueuses
50 E S T II E T I Q C E
Leg art in two pin-up artworks by Gil Elvgren. <Q Brown & Bigelow
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 5255: 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
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
58 E S T H E T I Q U E
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
6ft EST II ET I QC E
PI
UP AR T
65
66 EST II ET I QUE
PI
U P AR T 67
68 ESTHETIQUE
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
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THE ADO\'!::
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illust rations arc from th e l\ lacPhcrson Sketchbook. an annual advettising ralendar, produced by the
Thc~e
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
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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
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Minta Hoia (above left), Earl MacPherson's favourite model, posed for the 1954 Artist's Sketchbook Calendar, titled Hunter's
Barton). All pictures on this and previous page are from the book Memoirs of Earl MacPherson. ~ Earl MacPherson
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Shaw-
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
Printed in Italy
Firenze, Dicembre 1994
0 T li E T I QU
FETISH &BIZARRE
GLITTERING
I
edizioni
d'essai