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Orson Welles

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In Simon Callow's third volume of his epic biography of Welles 'One Man Band' I found a Searle  caricature of Welles as Othello (and Peter Finch as Iago) for Punch magazine's theater review.

View many more Punch theatrical caricatures here





Melbourne

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On a recent trip to Australia I hit the Searle trail in Melbourne . . .




More on Lofty here

The English Club

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Searle's depictions of the traditional English 'drawing room' environment or gentlemen's club are bravura examples of his technique.
'The English Club' Adam 1962

 'The Fortress of the Englishmen' Punch 1958


 'The characters of Agatha Christie' May14th, 1956 LIFE magazine


Private View

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This coming Saturday, June 18th I'll be at the Charles Schulz museum in Northern California delivering a lecture called 'Private View' which is a look at my visits to Ronald Searle in his studio and the story behind my book 'Ronald Searle's America'. More info on the museum website here



AOI review

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Ronald Searle’s America – book review


Edited by Matt Jones


Published by Fantagraphics Books ISBN 978-1-60699-843-4



Observation – some people appear oblivious to what is around them. Others cast a keen eye across their surroundings and the people inhabiting them. Illustrator Ronald Searle (1920 -2011) was a master of the latter, injecting it both into his reportage work and successful cartoons such as St Trinian’s, and this superb book revisits his impressive output from across America (and Canada) on assignment for several magazines from the late 1950’s onwards.



Curated by Matt Jones, who runs the Perpetua: Ronald Searle Tribute website, this impressive coffee table sized publication breaks down Searle’s travels into various locations (and political campaigns by Kennedy and Nixon), showing work that has rarely been seen since original publication in the 1960’s, with fascinating on site drawing, rough sketches which reveal the workings behind a joke, plus the richly detailed final images in line and colour. Stylishly designed, it’s a treat for all who love drawing (and being entertained – several drawings had me laughing out loud), offering an insight into Searle’s modus operandi and the effort that went into these assignments. Drawing in blizzards, anyone, to capture life in Alaska? There’s not many of us with the tenacity to deal with ink freezing in our pens!



In the Foreward, Pete Docter calls Searle’s drawing “delicious to look at”, a fantastic way to describe the pleasure of observing the varied fluid line, the capturing of ‘place’, the recognisable people (much of this work could be published today – preening bodybuilders, rich elderly retirees, elaborately kitted out skiers…). How great to have dropped him into the hipster hang outs of our major cities lampooning the dress and rituals, or puncturing the self importance of many media stars, famous for, well, what?



One of the strengths of Searle’s humour is its grounding in real life situations, so although there are universal elements, the people (or animals) who are the subject of his visual joke inhabit an exaggerated but authentic environment, with enough detail to ground and enhance the humour.



Searle is well known for the sharpness of his wit, and no one escapes in these American drawings. It’s often an individual put upon by the ordinary/extraordinary environment around them, whether that’s a man scurrying down a dark New York street proliferating with aggressive street signs, or a tourist being snatched up in the air by a sharp taloned Native American carved bird seemingly detached from a totem pole. Jones supplies informative captions on what images are and where they were published, and articles and letters by Searle himself or others are interspersed throughout the book offering interesting background.



Searle discusses situations with the same focused observation he brought to drawing, and not just on magazine work. He had strong views on visual documenting, “Reportage has to have flesh, bones, and above all life in it. One is not illustrating, but pushing one’s nose into life. On top of that one must have something to say – however crass. Reportage is not reporting: it is opinion and comment that takes it away from journalism into (minor) art.”



From a man who appears to have had no end of talent (and application), this substantial book is true visual treat. A great addition to the published work of Ronald Searle.

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Singapore Exhibition pt. 2

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The Magical Pen Line:
Ronald Searle

'One of the most influential illustrators and cartoonists of his time, Ronald William Fordham Searle, (1920 - 2011) is considered one of the leading artists of 20th century Euro-American illustrative
arts. The British artist whose artistic oeuvre spans over five decades, has contributed to numerous prominent publications, such as The New Yorker, the Sunday Express, News Chronicle and Punch
just to name a few.
The impact that Searle’s style has had on graphic arts is hard to overstate. Searle’s signature style of line drawings by ink pen has paved the way for innovations in contemporary illustration and
animated films. Regarded as a radical aesthetic during its time, this edgy style was to influence later generations of animated film across a span of genres, such as Walt Disney, United Productions
of America (UPA) animation studio, all as well as contemporary artists such as Sylvain Chomet and Matt Groening.

The Magical Pen Line: Ronald Searle features over 50 reproductions of rare illustrations, sketches and artefacts, from the Imperial War Museum (London) and the Wilhelm Busch Museum of Carica-
ture and Illustrative Arts (Germany).
The exhibition traces the young Ronald Searle’s time in Singapore as a prisoner of war. During this time, he produced more than 300 drawings and illustrations documenting the Japanese Occupation
in Singapore where he was captured and was forced to work on the Thailand-Burma Death Railway. This first part charts his un-flinching determination to give a personal and direct picture of the
facets of war, from ordinary days in the camp to brutal incidents, as well as early cartoons.
It also shows the birth of what became Searle’s signature style in the technique of quick and pointed sketching, and in the way he will present his satirical outlook of life. To quote him in a 1967
interview, “Everything was rooted there I think. To go into those sort of circumstances... inevitably marks you, marks your way on anything you do, anything you relate to afterwards.”
In this exhibition, you will see Searle’s skills and dexterity in translating scenes – both from the realms of conflict and struggle, as well as the realms of entertainment and satire – a skill that will later grow to cement his reputation as a versatile artist.
Complementing this selection are also his works as an illustrator and designer focusing not only on satirical cartoons, but also on his work on animated films, showing title and character designs as
well as story boards.
Searle received widespread recognition for his unique work, and original style especially in America. He received the National Cartoonists Society’s Advertising and Illustration Award in 1959 and
1965, the Reuben Award in 1960, their illustration Award in 1980 and their Advertising Award in 1986 and 1987. He was appointed Commander of the Order of the British Empire in 2004. In 2007,
he was decorated with one of France’s highest awards, the Chevalier de la Légion d’honneur, and in 2009, he received the German Order of Merit.

The Magical Pen Line: Ronald Searle is held in conjunction with the Society of Animation Studies Conference which is organised by the School of Art, Design & Media (ADM), Nanyang Techno-
logical University.'


(From the pdf Exhibition & screenings here)

A Grain of Sand

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 I can't find out much more than the following but I'd love to see this short film. (Another is the 'John Gilpin' short made by Halas & Batchelor with Searle's drawings for the '51 Festival of Britain)

'Created for the UNICEF film, Grain of Sand, 1964. This film tells the UNICEF story simply and dramatically. In the first part, William Blake’s poem, Auguries of Innocence, is narrated over graphic animation by Ronald Searle; the second part features a day in the life of a Tunisian boy. Narrator, David Wayne'

Billy Ireland Cartoon Library, OSU







'The plight of children in some parts of the world is portrayed in animated sequences by noted British artist Ronald Searle, the narration following the style of William Blake's poem. There is live footage of a day in the life of a ten-year-old boy in Tunisia. What he observes on his way to and from school illustrates some of the work of UNICEF.'
196414 min 50 s









William Jeremiah Burke

('Continuing into the 1940s and through the 1960s, thecorrespondence details some of his work as director of editorial research at LOOK magazine and its sister publications Quick and  Flair magazines. Correspondence, diary, manuscripts of novels, poems, articles, photographs, books,
memorabilia and other personal and professional papers of an author and director of editorial research at LOOK magazine, 1943-1968'.)

More reactions to the book

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I sent film director and Searle fan Mike Leigh a copy of 'Ronald Searle's America' his reaction was kind: 'Your RS book is tremendous. It's glorious, and I cherish it.'

Animator Tim Watts was impressed too:
'I have been looking through the book.   It is really terrific - it is beautifully laid out and designed with lots of fresh, detailed information and photographs as well as largely unseen drawings.   I wish there were more books like this that offer more than the repeated stories one tends to hear from book to book about a subject.'

Paris exhibition

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Searle fans visiting Paris should stop in at Galerie Martine Gossieaux on the Left Bank at rue Université behind the musée D'Orsay. She usually deals in drawings by her husband Jean-Jacques Sempé but several years ago but together an exquisite collection of Searle's caricatures from the French theatre originally made for Punch magazine. They are currently on display at the gallery or see a preview at the gallery website.



More on the gallery and the catalogue here

Paris exhibition

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Searle fans visiting Paris should stop in at Galerie Martine Gossieaux on the Left Bank at rue Université behind the musée D'Orsay. She usually deals in drawings by her husband Jean-Jacques Sempé but several years ago but together an exquisite collection of Searle's caricatures from the French theatre originally made for Punch magazine. They are currently on display at the gallery or see a preview at the gallery website.



More on the gallery and the catalogue here

More Punch theater caricatures here

Hommages & fakes pt.3

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The art interns at Disney TV were recently given an assignment to design a 'royal family' in the style of Ronald Searle.

Teacher and artist Bobby Pontillas created two very Searle-esque renditions of the 'royal families' from 'Game of Thrones'. These look amazingly like real ink pieces but are, in fact, created with digital 'brushes'. Read how Bobby achieved the Searle line over on his Tumblr


 Glynn Aiden

Alexis Page


Nathan Fergason


Jackie Kong



Roxann Cole



Taylor Krahenbuhl 

The artists at Dreamworks Animation did a similar exercise a few years ago. Check out those images here.  All the drawings inspired by Searle for my 2013 exhibition fundraiser are on view here 


Master Searle stylist Uli Meyer is still working on his animated Molesworth and gives a tease of an update and is appealing for original artwork on the Facebook page.




This is how NOT to do it! The latest awful forgery to surface on the art market.


See more Searle style drawings at the 'hommage' sections here and here and here

Searle Down Under

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Over the course of his career Searle did several assignments on an antipodean theme, not the least of which were the 'wine' drawings for the Australian arm of wine-maker John Goelet's vinery business Taltarni and Moonambel.



For Sports Illustrated (Nov 1st, 1971) he illustrated  John Underwood's article 'Poms, Butcher-Birds and Bogeymen' . The original article is archived here





Richard Thompson & Jack Davis

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Today we lost two giants of American cartooning- Richard Thompson  and Searle contemporary Jack Davis.


Richard was a huge fan of Searle and helped me out with initial contacts for the 'Searle in America' exhibition in 2013. Here is a touching tribute written by Richard on his hero's death in 2011--

'I wrote this for Mike Cavna at Comic Riffs. For a little more, go here; for much, much more, go here (it's worth it). For almost too much, but to understand Searle more fully, go here.

For a long time Ronald Searle's work exerted a tidal pull on me, as it has at some point for a lot of cartoonists. The first time his stuff hit me hard was in 1978 when I got a big, lovely art book titled Ronald Searle, and it was like a window opened. His drawings were so potent and dense and alive with comic energy. His pen could do anything; it went curling and spiraling all over the paper, describing a world that was ugly, bitter, grotesque, hilarious and sometimes, briefly, quite sweet. It made me suddenly aware of how liquid ink is, how it skips and splotches and pools when it hits the paper. It was also obvious Searle had a deep appreciation for the history of the graphic arts and an awareness of how he fit into it. This was heady stuff for a generally clueless 20 year old semi-cartoonist to be exposed to, and it took a few years for me to put my own eyes back in my head.

 Searle's style was so powerful that any other artist who mimicked its effects was pretty quickly overwhelmed by it and exposed as inferior. I think Searle himself was a little intimidated by his chops. There's a bit in his biography that tells of him taping the fingers of his drawing hand together to slow himself down and avoid becoming too facile. I've heard that he planned his work pretty carefully and his wiry, sprung lines were laid down with a lot more control than might be apparent. 

Pat Oliphant said something to the effect that going through a Searle period is good for cartoonists, as long as they pull out of it before it's too late.  The best way out, of course, is to draw and draw some more, as far away from the source of inspiration as possible and under circumstances that don't allow for cheating (i.e., a deadline). It's hard but think I managed it. 

But still, I'd give my right arm if I could draw like this-'



Richard wrote this piece on the occasion of Searle's 90th birthday in 2010

'Master penman Ronald Searle turns 90 today, and this is an update of a post from a coupla years ago. I'd meant to do something new, but I don't have the time now so it'll have to wait a few days.

Below is Searle's illustration for the song "National Brotherhood Week" from the book Too Many Songs by Tom Lehrer With Not Enough Drawings by Ronald Searle. The original hangs in my dining room, just waiting to offend an unsuspecting diner. I think it's the only piece of art I've ever bought, and when I first unwrapped it I studied it for almost an hour, sometimes with my nose an inch from the paper. For a long time his style exerted a tidal pull on me, as it has at some point for a lot of cartoonists for over sixty years. Look at those hands! just clumps of fingers sprouting out of sleeves, and look at the way he's laid out the page in bendy chains of rectangles, look at how he's balanced the various line weights and the black sleeve and the curly hair, and look at all those gormless-looking faces...

I've heard that Searle plans his work pretty carefully and his unmistakable wiry, sprung lines are laid down with a lot more control than might be apparent. His work always makes me aware of how liquid ink is, how it skips and splotches and pools when it hits the paper.  Though he used to draw not with ink, but with a kind of stain meant for I think furniture. He liked it because it aged interestingly into a greyish purple, and because it handled differently than regular ink. They don't make that brand of stain anymore, and he's drawn with regular ink for years, and better than just about anyone else.

Happy Birthday to Mr. Searle, and I hope he's well and working in his converted windmill in the French countryside.'





The Art of Richard Thompson from GVI on Vimeo.

Italia

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An interesting oddity from Italy with a great self portrait I hadn't seen before. I don't know much more about this publication.

. . . and now for the Vin Olympics

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On the occasion of the 2016 Olympic Games we present Ronald Searle's 'Vin Olympics' created in 1984 for John Goelet's  Clos Du Val and Taltarni wineries.

Original courtesy of Peter DeSeve










On the reverse of one of the original drawings is this scratched out version of the above. Searle was quite prepared to discard a finished drawing if it the composition didn't work for him.














Cricket

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With summer almost gone let's look at Searle's depiction of a typically English summer activity - cricket.

Punch magazine May 1956


'Jolly Losers' Holiday magazine April 1958

The best of St. Trinians

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Back to school with the best of St. Trinians . . . 


'EUNICE! HOW MANY TIMES MUST I TELL YOU TAKE THE BAND OFF FIRST!'
LILLIPUT, APRIL 1951
(RONALD SEARLE, BACK TO THE SLAUGHTERHOUSE AND OTHER
UGLY MOMENTS, LONDON: MACDONALD, 1951, PAGE 50;
RONALD SEARLE, THE CURSE OF ST TRINIAN'S, LONDON:
PAVILION BOOKS, 1993, PAGE 49
EXHIBITED: 'THE ILLUSTRATORS. THE BRITISH ART OF ILLUSTRATION 1837-2015',
NOVEMBER 2015 - JANUARY 2016, NO 361)


  'Eunice, dear- aren't we rather muddling our patron saints?'


"And this is Rachel - our Head Girl"



"But Miss Merryweather, you said we could bring our pets back with us" 


"Cleaner's getting slack. Horsefall . . ."
(Lilliput 1952 Oct/Nov)


 "... and a pair of knuckledusters, and some scent, and a hammer ..."
(Lilliput 1951 6 Nov)
 

The Illustrators 2016

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London cartoon art dealer Chris Beetles has just announced his annual show 'The Illustrators' and, as usual, Searle is represented. Go here to preview the exhibition online.


The Wit and Wisdom of Ronald Searle

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A new exhibition featuring a collection of illustrations from the Collection of Robert and Lydia Forbes has opened at the University of Connecticut. 'The Wit and Wisdom of Ronald Searle' runs through February 10.

More info here and here.





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