Noir Masters’ Poster Art: My Faves.

NCX_poster

So much to ogle, so much stylish modeling, photography and digital imaging to digest.

Sure, I’m always partial to traditional illustration when it comes to genre visuals, but lets face it, there aren’t that many artists left who are able to step up to the easel (or drafting table) and reliably turn out retro-flavored art that can stand shoulder-to-shoulder with Maguire, Lesser, McGinnis, Dodd, Avati and a long list of revered mid-twentieth century illustration stars.

These Film Noir Foundation Noir City posters are my own favorites, capturing the deliciously seamy side of noir so perfectly.

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Check out the three preceding posts for more examples of the Film Noir Foundation’s Noir City film festival posters, but even more importantly, follow the links below to the Film Noir Foundation and its Noir City sub-site to learn more about the organization, its Noir City e-mag and…well, just get over there, willya?

http://www.filmnoirfoundation.org/home.html

http://www.noircity.com/

Charlie_Haden_PosterNC13_posterNC9_poster

Modern Noir Masters’ Poster Art.

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Fifteen years (give or take) of the Film Noir Foundation’s Noir City film festival posters: Go to the foundation’s site yourself to better ogle them, sign up to be a donor and get your mitts on the excellent Noir City e-magazine, or to order cool stuff from the foundation.

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The posters include shots from expert lensmen like David Allen and Jason Mitchell, shooting models including Annabelle Zakulak, Lucy Laird, Victoria Mature, Greer Sinclair and even noir-maestro himself, Eddie Muller, with truly artful digital photo-composition and imaging work by Bill Selby. And how wonderful to see software deployed not just for showing off with digital voodoo, but to fabricate cost-prohibitive or nearly impossible-to-shoot artistic visions. Bravo!

More follow in the next two posts, and my personal faves in the post after that…

http://www.filmnoirfoundation.org/home.html

http://www.noircity.com/

NC Jan 2004NC_ChristmasNC3_posterNC8_poster

The Pop Culture Rembrandt

Pop Culture Rembrandt

Check out the Crime Reads.com essay by J. Kingston Pierce: “Robert McGinnis: A Life In Paperback Art”, honoring the prolific American illustrator on his 93rd birthday this Sunday, February 3rd. The article’s tag notes, 93 Years & Thousands of Paintings from a “Pop Culture Rembrandt” and Pierce’s essay does a fine job of sharing McGinnis story and his place among the masters of postwar paperback, magazine and commercial illustration.

Robert McGinnis - Lesbian Covers

Perhaps more than any other artist from that era, Robert McGinnis’ work is almost inseparable from the identities of a number of popular paperback crime and adventure series. Consider at least the well-known ones: Brett Halliday’s Mike Shayne, various Carter Brown series, Richard S. Prather’s Shell Scott series, John D. MacDonald’s novels including the Travis McGee series, M. E. Chaber’s Milo March Mysteries, Edward S. Aarons’ Sam Durrel spy series, and Erle Stanley Gardner’s Perry Mason books as well as his A.A. Fair Donald Lam & Bertha Cool mysteries. Almost disappoints me that McGinnis only did two covers for one of my own private eye series favorites, Frank Kane’s Johnny Liddel mysteries. But along with these, there were countless stand-alone titles, from crime to romance, westerns to espionage and more. McGinnis only did a few of the postwar paperback era’s lesbian themed books, and took what may be an unfair bad rap for his illustration for Beebo Brinker, but we should remember that illustrator’s often had no more than a brief editor’s blurb to go by, and often didn’t get to read the book itself…if budgets or deadlines would have allowed them to anyway.

Never Kill A Client 1963

McGinnis’ style evolved with the times, becoming increasingly abstract, vignetted and decorative, rooted less in fully rendered interior/exterior scenes. By the time photography and all-typographic styles began to dominate the paperback market’s covers, the artist had moved successfully into film posters and other assignments (likely more lucrative) while pursuing his own fine art work, predominantly western art. The excellent book Tapestry- The Paintings Of Robert E. McGinnis edited by Arnie and Cathy Fenner does a wonderful job of juxtaposing selected McGinnis commercial illustrations with non-commercial paintings, seeing both in a fine art context.

kill now pay later 1960

For many, Robert McGinnis’ striking nude (or nearly so) vixens and elongated, preening sixties-chic coquettes are what he’ll be remembered for. Myself, I’m drawn to the more flesh-n-blood figures, my all-time favorite the seated woman in a simple green dress and long brown gloves from the cover of Never Kill A Client, a 1963 edition of a Mike Shayne mystery (above), and an illustration I keep handy since it so closely resembles my own imaginary character, the ‘Stiletto Gumshoe’. Some real favorites are shown here in this post, including the fetching femme fatale perched on a private eye’s desk from Kill Now, Pay Later (1960), or the bar room pianist tickling the ivories where McGinnis’ trademark longer-than-long legs draw his attention from Murder Me For Nickels. The iciness of the subdued colors in a very risqué for the time, Exit For Dying (1956) may just be the single sexiest piece of cover art I’ve ever seen. But I’ll always love the comparatively prosaic and fully-rendered scene of the redhead alighting from the backseat on Day Keene’s Too Hot To Hold from 1959.

Murder Me For Nickels

I’m never comfortable with labeling one artist, author, musician or any other creative as ‘the best’. There are masters and there are followers and many at levels of skill, talent and popularity in between. For me, there are several artists from those golden and ‘silver’ ages of paperback, pulp and glossy magazine illustration that comprise the top tier. McGinnis, of course would be there, not only as a superior figurative artist but also as a master designer, possibly demonstrating more stylistic diversity than any of his peers and contemporaries. And of course, those contemporaries are, for the most part, retired or deceased now. Bittersweet, but maybe that’s for the better, so they don’t have to reckon with an Adobe-ruled Illustrator/Photoshop world.

Robert McGinnis Exit Dying 1956

Do follow the link below to J. Kingston Pierce’s “Robert McGinnis: A Life In Paperback Art” essay and gorge on the many reproductions. It’s a far more eloquent tribute than anything I could muster up. Still, a heart-felt happy 93rd birthday to the ‘”Pop Culture Rembrandt”, Robert McGinnis.

Too Hot To Hold 1959

https://crimereads.com/robert-mcginnis-a-life-in-paperback-art/

 

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