1 15 2 https://omeka.wilkes.edu/omeka/files/original/a49641a99662d5e4d2f5297373e8c532.pdf 57b0c7c47e994ec485c9f7b92437787b PDF Text Text ����������������������������������������������������������������������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2018 April 7 American Illustration and Comic Art Creator An entity primarily responsible for making the resource Charles Addons Alfred Andriola Rolf Armstrong Paul Bacon Walter M. Baumholfer Rudolph Belarski Fredrick Blakeslee Enoch Bolles Aurthur William Brown Buck Brown John Caldwell Milton Caniff Al Capp Pruett Carter Howard Chandler Christey Jack Cole Dean Cornwell Bradshaw Crandell Douglas Crockwell Paul Davis Phil Davis Chon Day Billy DeBeck Roy Delgado Joe De Mers Ralph DeSoto Walt Disney Studios Maynard Dixon Harvey Dunn Robert Eckstein Heinz Edelmann Anton Otto Fischer Ham Fisher Harrison Fisher Harold R. Foster Frank Gottfredon Ray Gotto Chester Gould Walter Granville-Smith Harold Gray George Gross Bob Haggart V.T. Hamlin Fred Harman John Held Jr. George Herriman Al Hirschfeld Brune Hogarth Walter Beach Humphrey E.M. Jackson John Jonik Walt Kelly Stanley I. Grand Date A point or period of time associated with an event in the lifecycle of the resource 2018 April 7 - May 20 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource From Disney to Playboy and billions of Sunday morning papers in between, the art of illustration is tightly ingrained in the American zeitgeist. Narrative illustration is unique in its ability to be harrowing, hilarious, or politically motivating, at times simultaneously. Though often used as advertisement, these works also stand alone as art in their own right. Type The nature or genre of the resource N/A Subject The topic of the resource comics comic art American art American illustration Source A related resource from which the described resource is derived Andrew Sordoni https://omeka.wilkes.edu/omeka/files/original/2ca182a7a83865d91a813c56c69d6d3b.pdf 0f8728532b1ecc1489686f600b4371c1 PDF Text Text ���������������������������������������������������� https://omeka.wilkes.edu/omeka/files/original/b89ebc4afb9c884ca4fba1b91a98044e.pdf 84839e1211c2a0ed68d6d0fb6941bf05 PDF Text Text I vuiONJorco JACK KEKOUA ARCHIVES SORD GA ’075.5 B33A.4 1599 I �THE GRAPHIC ART OF PAUL BACON �THE GRAPHIC ART OF PAUL BACON Exhibition Curated by Stanley I Grand Essays by Hank O’Neal Stanley I Grand Introduction by Bob Greene E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA May 8 through June 6,1999 • Sordoni Art Gallery, Wilkes Universit}- • Wilkes-Barre, Pennsylvania �INTRODUCTION Bob Greene Copyright T 1999 Sordoni Art Gallery, Wilkes University All rights reserved 1500 copies were printed by Becotte &f Company, Inc. Catalogue design: John Beck Typeface: Electra ISBN G-94294 5-16-6 TT seems I’ve known him through many lives, both his I own. We met through my good friend Billv Grauer. E J- have skiffle sessions on Friday nights, wav back in 194 Jane had just been married, and they were living at 42s R Drive, near Columbia. Bacon appeared and leaned over with his comb and cellophane, joining me, Grauer, Bob’ Bob Lee on jug, sometimes Connie Janis on trombone. Bob Orrin Keepnews in what now sounds to me like controlled r But at the time we thought it sounded pretty good. Bacon was an ex-marine, tall and tanks —smoking ciga lighting them with a heavy Parker butane lighter. Later h to wondering why he went. “First it was curiosity." he sail began to enjoy it.’’ I think it was the companionship. Grauer—he died th< month as Kennedy—had a talent for bringing people tog he divined who we were 1 don’t know. We were so young sionable, in our early twenties, and there was little to dist Yet each of us, in his way, made a mark, and we all rema friends long after Billy died. Bacon was already established as an artist. His early Re Changer covers and Blue Note covers are collectors’ iten went on to become the most distinguished book jacket d America. But don’t take my word for it. This exhibit is al you. He’s terribly knowledgeable about even thing: sport personnel on old 78s, books, the arts. Clearly he should �INTRODUCTION Bob Greene TT seems I've known him through many lives, both his and my I own. We met through my good friend Billy Grauer. Bill used to JL have skiffle sessions on Friday nights, way back in 1949. He and Jane had just been married, and they were living at 425 Riverside Drive, near Columbia. Bacon appeared and leaned over the piano with his comb and cellophane, joining me, Grauer, Bob Thompson, Bob Lee on jug, sometimes Connie Janis on trombone, Bob Sann, and Orrin Keepnews in what now sounds to me like controlled mayhem. But at the time we thought it sounded pretty- good. Bacon was an ex-marine, tall and lanky—smoking cigarettes and lighting them with a heavy Parker butane lighter. Later he confessed to wondering why he went. “First it was curiosity7,” he said, “Then I began to enjoy it.” I think it was the companionship. Grauer—he died the same month as Kennedy—had a talent for bringing people together. Flow he divined who we were I don’t know. We were so young, so impres­ sionable, in our early twenties, and there was little to distinguish us. Yet each of us, in his way, made a mark, and we all remained close friends long after Billy died. Bacon was already established as an artist. His early Record Changer covers and Blue Note covers are collectors’ items, and he went on to become the most distinguished book jacket designer in .America. But don’t take my word for it. This exhibit is all around you. He’s terribly knowledgeable about everything: sports, the personnel on old 78s, books, the arts. Clearly he should have had too much sense to be a musician. And yet it nibbled at him. I le and his brothers had always been singers. The voice held a fascination for him. But, largely, he kept it hidden behind the cellophane and Left TO right: Paul Bacon (kazoo), Conrad Janis (trombone), Bob Lee (jug), Bob Thompson (washboard), Bob Greene (piano), Bob Sann (banjo), c. 1950 5 / i i >4 1 b . �In 1976 I had the opportunity to bring my “World of Jelly Roll Morton" show into Carnegie Hall. I had seen Benny Goodman’s concert there in 193S. It seemed unbelievable that I would be performing on the same stage. The band, however, deserved it. Tomins Benford. Jellv’s old drummer, was on drums. Herbie Hall the clarinet. Milt Hinton plaved bass. Ernie Carson was on cornet. We had scored well with a RCA Victor record and at concerts in Lincoln Center. Now we were in the shrine. And so I thought of Ri o people: Bill Russell in New Orleans and Bacon here in New York. Both were sentimental thoughts. Bill Russell had been so instrumental in reviving early jazz, rediscover­ ing Jelly, finding Bunk and recording him. And he played good violin and would add the right flavor to “Someday Sweetheart.” I wanted Bill to set foot on the stage of Carnegie Hall and play there. 1 felt the same way about Bacon. By this dine we had become close friends, but even that was not the point. I wanted to pay homage to an older time, to those Friday night skiffle sessions, to Grauer and his gang, to our younger selves and our dreams. From 425 Riverside Drive to Camegie Hall. A salute to our ghosts. And maybe send a message to Grauer, wherever he was, that we had made it Bacon svmbolized those days, and so I invited him to join. “Paul Bacon plays Kazoo at Carnegie Hall!” wasn’t on the mar­ quee, but it was on a poster I think both of us drew in our hearts. And he did play, too—well and beautifully. That Swiss comb with the cellophane as a reed. We stomped on that stage where Goodman had held forth, and played for Jelly, for Grauer, for all of us. Bill Russell was magnificent. But I still didn’t know- what a singer Bacon was. I want to do that whole evening over again. Have him sing “Bolden” and “Whinin’ Boy.” Let him shuffle along with “Alabama Bound.” Give him a big spotlight and play colors at him. And when he hits “Dr. Jazz” let him bring the house down. Lie’s that good. I wish I had known it then, but I know it now. The beauty' of it is that we all know' now'. Listen to his CDs, take a good look at his book jackets, go up and say hello and meet one of the finest talents that ever graced the New York scene. And then, if you can, find a piano and summon those of us still able to get around, and get him to show' you what a Friday night is supposed to sound like. New York March 12,1999 THIS IS NOT A COMB, OR HAVE PENCIL, WILL TIL' Hank O’Neal /V USIC MADE the difference. It did for Paul Ba \ /1 me, and I pity the person for whom it didn't. .A _L V JL difference for both of us early, as teenagers. W it is even younger—it has to if it’s going to shape your lifi something you’ve never heard before, and somehow. 1 everything connects, something stirs within vou and v same. Those first sounds, exciting, visceral, heart-pom begin a process that never stops—that stays with you f< some, the music is the dominant force in their lives, ll professionals, music is their life. For others, it become avocation — for most as listeners, for others as produce lucky few like Paul—as semi-pro performers who play joy of it. For me, the sound I'd never heard burst forth from . Shaw Bluebird -S-rpm record, one rm mother bough! 1939. I heard it years later, in 1933. Paul Bacon got his years earlier, in 1938, when he heard a Chick Webb C band played an old operetta classic. “Indian Love Cal that astounded im thirteen s ear old ears; Webb’s banc hotter, playing a new Benm Carter arrangement of "1. Gershwin standard, hr then nearly ten years old. And was ever the same. Paul once wrote: “Jazz is powerful seizes you at the same time as sex. and it is deeply afre 6 • 1 Graphic Art of Paul Bacon �all!" wasn't on the marus drew in our hearts. . That Swiss comb with hat stage where Goodman auer, for all of us. Bill now what a singer Bacon . Have him sing “Bolden with “.Alabama Bound." him. And when he hits le’s that good. I wish 1 Listen to his CDs. take a > hello and meet one of York scene. .And then, if f us still able to get iday night is supposed to New York March 12.1990 THIS IS NOT A COMB, OR HAVE PENCIL, WILL TRAVEL Hank O’Neal /F t’SlC made the difference. It did for Paul Bacon, it did for \ /1 me, and I pity the person for whom it didn’t. And it made a J- V _L difference for both of us early, as teenagers. With some people it is even younger—it has to if it’s going to shape your life. You hear something you ve never heard before, and somehow, unexplainably, everything connects, something stirs within you and you’re re never the same. Those first sounds, exciting, visceral, heart-pounding sounds begin a process that never stops—that stays with you forever. For some, the music is the dominant force in their lives, they become professionals, music is their life. For others, it becomes a driving avocation—for most as listeners, for others as producers, or—for a lucky few like Paul—as semi-pro performers who play for the sheer of its converts throughout their lives—enough so to make bearable a slight alienation. . . . [But] whatever the emotional responses to jazz are, wherever they come from, they are unifying in their strength.” You meet people along the way because of the music, people with whom you might not otherwise associate, people who can and do shape your entire life. I know it happened to me and I know it happened to Paul Bacon. I don’t know about today, but once upon a time, in the 1930s and 1940s, being a serious jazz fan was almost like being in a secret society, with its own passwords, language, and code of conduct. People who passionately liked what then was called “hot” music congregated in “hot clubs”; and these clubs were all over the world, from New York to Paris to Bangkok. Jazz enthusiasts joy of it would come together, listen to records, sponsor concerts by their For me. the sound I’d never heard burst forth from an old Artie favorite artists, or whoever was available, and sometimes even issue Shaw Bluebird yb-rpm record, one my mother bought by mistake in records. 1939. I heard it years later, in 1953. Paul Bacon got his first taste a few A legendary hot club congregated regularly on Monday nights in years earlier, in 1938, when he heard a Chick Webb Decca. Shaw’s Newark, New Jersey, and in 1940 one of its hottest new members was Paul Bacon. Another member was a friend who lived not far away, Phil band played an old operetta classic, “Indian Love Call,” in a way Stein; and yet another hot jazz fan was Phil’s striking teenage sister, that astounded my thirteen year old ears; Webb’s band was even Lorraine. Paul recently referred to her as the “glamour puss of the hotter, playing a new Benny Carter arrangement of “Liza,” the Newark Hot Club,” but that was long ago, and the same Lorraine is now Gershxs in standard, bv then nearly ten years old. And neither of us was ever the same. Paul once wrote: “Jazz is powerful stuff; it usually the glamour puss of tire Village Vanguard. Someone else for whom seizes you at the same time as sex, and it is deeply affecting to many music made the difference, forever. �t I -- It was always the music, a shared, not so secret passion, that brought these three people together, not the Newark Bears, even though they were a pretty good baseball team in tire early 1940s, with the likes of Tommv Byrne and Hank Sauer. Hot jazz, the hotter tire better, was the common denominator. An old Jabbo Smith record, "Sweet and Low Blues” or maybe “Decatur Street Tulti,” scavenged for a dime in a junk shop, could and did forge a common bond among impressionable teenage listeners, a bond that could and did last a lifetime. Even with Jabbo. Jazz, at least a certain kind of jazz, could bring people together, and keep them together forever. If vou speak with those who know Paul well, they all will tell you he could always draw. By his own admission he had skills, just no particular vocation, no way to translate his skill into a decent meal. He was just another teenager without direction; but within a few vears. he found a vocation and got better as the years went by. Yet according to those in the know, he started off pretty well. His situa­ tion reminds me of something one of Joe Venuti’s cousins once said to me. when I asked him if it was true Joe was born on a ship coming from Italy to America. ‘Yeah,” he replied, “and he was playing prettygood when he got off the boat.” Paul’s first drawings were made for The Newark Hot Club s Jazz Notes, Bob Thiele’s Jazz and other small magazines, but his search for a life’s work was rudely- interrupted; he was just the right age for the Marines and the Corps proved it for the next three years. Paul traveled extensively during his stint with the Marines, kept his pencil in his pocket, but with little opportunity to use it, except to hand­ letter various items for officers and, after the War, create some stands fora service band while he was stuck on the island of Peleliu. His experiences overseas were undoubtedly broadening; but unlike Peggy Sawyer, lie didn’t come back a star. He left as a y-oungster, passionate about music and art and came back the same thing. It was now .April 1946. Things were relatively peaceful in the world, and Paul Bacon, along with a million other GIs, came home 8 • The Graphic Art of Paul Bacon looking lor work. 1 le had a fantasy of working at a doing superfine hand lettering, when suddenly I k with his brother, had a Bauhaus-influenced desigi town Manhattan, took him in. Almost overnight. I a reality. Zamboni encouraged his voung apprenti classes with Lewis Daniel, gave him varied assignr him $30 a week for his time. \nd it could have en basic design work, illustrating magazines, creatine But it didn't, because of the music. The Newark Hot Club was pretty much a thing war chewed up millions and millions of old -S-rp dreaded shellac drives, more records were being r were just around the corner. But bv 1947, there w; the faithful, a wonderful monthly publication, Th This inexpensively produced magazine featured 1 and (best of all; sales of rare records. 'I here was a nary independent jazz label. Mthougli not exact!' doing well enough to regularly issue 78-rpm sing] which needed designs. The label was Blue Note, and onetime model Lorraine Stein was now l.orr to Alfred Lion, who had founded the company in Wolff. Paul Bacon, Tsing-Tao, China, 1945 His life began to tall into place, a Paul Bacon 1 appeared on Sidney Bechet’s Blue Note Jazzmen manv more were to follow (Figures 47.48). But t happened, primarily because even though Paul 1 and Jabbo, he wasn’t what was known in those ye fyggc. 1 le also liked Fats, Dizzy, and Miles; and t attention of Alfred Lion, who suggested to the tv. Record Changer. Bill Grauer and Orrin Keepncv designer friend might make a tine modern jazz c could relate to the old and the new. Bill and Orr enough to pay attention to their elders (they wer �looking for work. He had a fantasy of working at a drawing board, doing superfine hand lettering, when suddenly Hal Zamboni, who, with his brother, had a Bauhaus-influenced design studio in mid­ town Manhattan, took him in. Almost overnight, the fantasy became a reality'. Zamboni encouraged his young apprentice, sent him to classes with Lewis Daniel, gave him varied assignments, and paid him $30 a week for his time. And it could have ended there, doing basic design work, illustrating magazines, creating advertisements. But it didn't, because of the music. The Newark Hot Club was pretty' much a thing of the past, the war chewed up millions and millions of old 78-rpm discs during the dreaded shellac drives, more records were being reissued, and LPs were just around the corner. But by 1947, there was a new focus for the faithful, a wonderful monthly publication, The Record Changer. This inexpensively produced magazine featured articles, reviews, and (best of all) sales of rare records. There was also one extraordi­ nary- independent jazz label. Although not exactly thriving, it was doing well enough to regularly issue 78-rpm singles and albums, which needed designs. The label was Blue Note, and Paul’s jazzpal and onetime model Lorraine Stein was now Lorraine Lion, married to Alfred Lion, who had founded the company in 1939 with Francis but Alfred was at least thirty-five), and took on the kid, as he sug­ gested. Since Paul was gainfully, though modestly employed else­ where, lie was expected to provide reviews for a very modest fee (often just being allowed to keep the record he was called upon to review). Bill and Orrin ran The Record Changer on a shoestring, but they were destined for bigger things —and dragged Paul along with them without so much as a whimper. By the time the little magazine ceased publication, Bill and Orrin had begun producing reissues for RCA’s new label “X”and launched their own Riverside label. Almost all the initial releases for “X” and Riverside featured cover designs by Paul Bacon (Figures 45, 46). In fact, Paul eventually became chief designer for Riverside in its early and middle years. Wolff. His life began to fall into place, a Paul Bacon design suddenly appeared on Sidney Bechet’s Blue Note Jazzmen, and more, many, many more were to follow (Figures 47, 48). But then something else happened, primarily because even though Paul loved Louie, Bix, and Jabbo, he wasn’t what was known in those years as a mouldie fygge. Fie also liked Fats, Dizzy, and Miles; and this caught the attention of Alfred Lion, who suggested to the two proprietors of The Record Changer, Bill Grauer and Orrin Keepnews, that his young designer friend might make a fine modern jazz critic, one who could relate to the old and the new. Bill and Orrin were wise enough to pay attention to their elders (they were in the twenties, Left to right: Conrad Janis (trombone), Paul Racon (combi, Orrin Keepnews (comb), Rill Grauer (comb), Rob Greene (piano), c. 1950 This Is Xof a Comb • 9 �It was fun to design jackets for jazz LPs, and it undoubtedly provided a much needed creative outlet, but it was not possible to pay many bills with the meager proceeds derived from a few jackets a month. Yet the jazz connection ultimately led Paul to the design field where the demand for his work soon allowed him to open his own studio, raise a family, pay the mortgage, and do all the other mun­ dane things to which most people, even the finest creative artists, aspire — at least when they are honest with themselves. In 1950, Bill Westley asked Paul to provide some illustrations for a book about chimpanzees he was writing (Figures 1-3). The art director of E. P. Dutton, the publisher, asked if the artist could possible do a dust jacket to complement the drawings (Figure 4). The artist could and did, thus producing the first of thousands of dust jackets that grace many of the most notable books of the second half of this century. Chimp on My Shoulder was a modest success, and in 1999 it is best remembered by Paul Bacon and on the Inter­ net. Bibliofind.com current!}' lists seven copies in varying condition, with prices ranging from $12.00 to $45.00. In the description of one of the copies can be found the following unsolicited testimonial: “The text is clean, Paul Bacon’s illustrations are wonderful, bright I' L started to come in. There were enough clients to open his own studio i 1955, and he worked for anyone who would call. Fie confessed, “If thev had a dime, I’d draw.” But it’s not that simple. Paul’s career in jacket design started slowly but built steadily, never stopped, and is now in its forty-ninth year. He hit the big time in 1956 with Meyer Levin’s Compulsion (Figure 5). He’d done important books before, but this was the first he’d been given that and clean.” Muggsy Spanier once sang, ‘You’re bound to look like a monkey when you grown old,” but Paul didn’t have to worn'. He started with the monkeys, so there was no problem winding up that way—the chimps had, after all provided a beginning. Still, there were no other immediate freelance jacket designs on the horizon and Zamboni was still his home base. A year or so later, however, prior to Riverside or label “X,” Bill and Orrin, who paid his bills by being an editor at Simon and Schuster, had the idea to package a record with holiday literature. They needed some action on the cuff and asked Paul to produce a dummy for the overall package. It must have been a good one; the art director at Simon and Schuster, Tom Bevans, asked, “Who is this guy?" and the work jo • I he Graphic /\rt of Paul Bacon Left to right: Unidentified woman, Seymour Berg, Alfred Lion, unidentified woman, Paul Bacon, Lorraine Lion (on floor), 1947 everyone knew was going to be a best seller before it was issu Paul’s design made its way to the movie titles, but unfortuna without proper credit. There are some legends about Paul. One is that he is able on three conversations simultaneously while hand lettering jacket. Another is that he is in such control of his mind, eye, an that he can not only recall obscure type faces from memory improve on them in the process. The most noteworthy is that read all the thousands of books for which he’s designed dust jac it’s true. In his words: “I’ve read them all. Even the junk. If thei key to a book, something that could be considered a graphic k was going to find it myself 1 knew it was buried somewhere manuscript. The publisher would send me a manuscript to I’d do. It was much more carefree at the beginning, there w restraints, but there was also a sense of freedom.” His friend and long-time associate, Harris Lewine, recent “Paul could read a manuscript and no matter how good or 1 was, could find a kernel of honest}' and wotdd try to replica a jacket. The graphic key often revolved around Paul’s pers identification with something. This might be completely bi quality of a so-so novel, but would mesh with the quality of better writing in it.” Paid once commented, “It was all very informal in those read the manuscript, think about it, and make some sketch went to a place with a sketch under my arm. The publishe ver}' honorable, and it was a relaxed way to make a living, £ though the life of a freelancer is never carefree. They usua me away from the authors, they didn’t want me to get too c them. The publisher didn’t want the author to influence tl design.” This is borne out by Joseph Heller, who recently said of “He’s done all my jackets, other than that I don’t really km We’d meet occasionally at a book party, say hello and shak �ients to open his own studio in Id call. He confessed, “If they pie. lowly but built steadily', ith year. He hit the big time (Figure 5). He’d done : first he'd been given that ymoz/r Berg, Alfred Lion, w Lion (on floor), 1947 everyone knew was going to be a best seller before it was issued. Paul’s design made its way to the movie titles, but unfortunately, without proper credit. There are some legends about Paul. One is that he is able to carry on three conversations simultaneously while hand lettering a book jacket. Another is that he is in such control of his mind, eye, and hand that he can not only' recall obscure ty'pe faces from memory but improve on them in the process. The most noteworthy is that Paul's read all tire thousands of books for which he’s designed dust jackets. And it’s true. In his words: “I’ve read them all. Even the junk. If there was a key to a book, something that could be considered a graphic key, then I was going to find it myself. I knew it was buried somewhere in the manuscript. The publisher would send me a manuscript to see what I’d do. It was much more carefree at the beginning, there were some restraints, but there was also a sense of freedom.” His friend and long-time associate, Harris Lewine, recently said, “Paul could read a manuscript and no matter how good or bad it was, could find a kernel of honesty and would try to replicate this on a jacket. The graphic key' often revolved around Paul’s personal identification with something. This might be completely' beyond th,le quality of a so-so novel, but would mesh with the quality' of the better writing in it.” Paul once commented, “It was all very informal in those days. I’d read the manuscript, think about it, and make some sketches. I often went to a place with a sketch under my' arm. The publishers were very honorable, and it was a relaxed way to make a living, even though the life of a freelancer is never carefree. They usually kept me away from the authors, they didn’t want me to get too close to them. The publisher didn’t want the author to influence the jacket design.” This is borne out by' Joseph Heller, who recently said of Paul, “He’s done all my jackets, other than that I don’t really' know him. We’d meet occasionally' at a book party, say hello and shake hands. I liked him because the publisher liked him. With Catch-22 there were several things that came in before Paul’s (Figure 7). I’m never shown a design until the publisher finds something exciting; and Paul has always been original, surprising, and wonderful.” Catch-22 was in 1961, and thirty-five years later Paul designed the dust jacket for the sequel, Closing Time. This is what he said about that, in the liner notes for an album featuring Nat Adderley, for which he also designed the booklet cover: “One of the perks of living long enough is, if you’re around and don’t quit, you get to do things like create a Nat Adderley cover in 1958 and 1996, or create the original design for Joseph Heller’s Catch-22 and then thirty-three years later design the jacket for the sequel, Closing Time. You don’t get to do that very often but when the opportunity comes it's very gratifying, to have the opportunity of being involved with a Nat Adderley or Joseph Heller after thirty' years is kind of great. Everyone is getting a little thin on top, but that’s part of the deal.” Neither Heller nor Bacon mentions that it took a good deal of work on Paul’s behalf to get to the final Catch-22 jacket. The first sketch, featuring a hand and finger proffering a universal gesture, scandalized all concerned. The dangling red hubba-hubba man that appears on the dust jacket was in the next sketch, and many subsequent sketches, but it was a long road. With each sketch, Heller’s name and Catch-22 grew and the little red man shrank, until the final version emerged. Harris Lewine: “Paul never gave up. Most illustrators would have given up, but he would never say ‘go away.”’ Paul Bacon’s “big book look” emerged about the same time. It is unclear if he developed the concept on his own, but Paul popular­ ized it and became famous as a result. The “big book look” was the antithesis of dust jackets up to that time, with type laid on bleed illustrations and a wrap-around spine. Paul’s dust jackets featured the name and title in large typeface at the top of the jacket and a centered spot illustration on a field of white, black, or a solid color. This Is Not a Comb • n I ■ l $ \ .1 I ■ Ji I 1 �I I This was the form often used for a noted author. For an author’s first book the concept might be reversed —a larger illustration might be required to catch a bookstore browser’s attention. The range of his work is remarkable. The forty-four selections highlighted at this exhibition, from Chimp on My Shoulder (Figures 1-4) to Thomas Jefferson and Sally Flemings: An American Contro­ versy (Figure 44) have something for any taste. Blockbusters, cult favorites, literary' classics, scandalous titles, and more. I’m amazed at the prominent authors and books listed in this catalogue. One could list these books and pose this question: What do the following fortyone noted writers have in common? And then you could make a longer list, mans' hundreds, and ask the same thing. The easy answer is that most of these books might be found in a good public library', but the right answer is they' all have dust jackets created by' Paul Bacon—in common with thousands of other books. Other questions to ask: Apart from the “big book look,” what is unique about a Paul Bacon design? What sets him apart? Joseph Heller used the words “original, surprising, and wonderful.” True enough—but his designs also show a quiet but elegant simplicity, a clean, focused utility. In the language of the bopster, words that Paul would understand and appreciate, The Scene Is Clean. Yet, one must remember, Paul may appreciate bop, but be doesn’t play it. Lots of notes, played very' fast, funny' harmonies, insider music. That’s not the kind of music or art he creates. The line of the New Orleanstinged music featured in a Paul Bacon performance is much like that of his dust jackets—sparse, accessible, to the point, and com­ pletely lacking in gratuitous ornamentation. Just as there are no heaving bosoms on Paul’s dust jackets, his music-making is not embellished with nonmusical effects—each note counts. Just before I wrote these words, I went to a shelf and removed six books by E. L. Doctorow. In chronological order, Ragtime (Figure 30), Loon Lake, Lives of the Poets, World’s Fair, Billy Bathgate, and The Waterworks. Paul designed the jackets for the first five and the 12 • The Graphic Art of Paul Bacon cover illustration for the sixth. I’ve read the books; he found the graphic key to each and translated it into a succinct design. He cL() found a marvelous graphic key in The Waterworks, maybe the best of Paul Bacon, 1998 the six, but the publish'ter used unly the illustration (which he’d like to redraw). The wish to redraw the horse-drawn trolley is indicative Bacon’s consummate professionalism—he wants the work correct and he will fight for it. Quietly. I larris Lewine calk “self-effacing fighter,” an artist who was not schooled in an tional manner, but who emerged from the fine arts backgr the times. lake a look at Jack Kerouacs Visions of Cody (Figure 23 sets the design apart, what makes it a Paul Bacon design, i: understanding of the book, his presentation of Jack Duluoz; Pomeray in a seamless linear landscape that begins with the s continues across the front of the book. Lester and Billie, a dir mobiles, the two main characters, all “Groovin’ High.” Or leaning trumpet player on the cover of Ross Russell’s The . Someone once said, “You can’t judge a book by its cover" clearly hadn’t seen Paul Bacon’s dust jacket for Visions of What about his other primary design activity, covers for albums and LPs, as well as CD booklets? Paul’s other artis in full bloom for a dozen years, roughly 1947 to 1959, hibe a few years, and then took off again in the mid-1980s. It wi course, be possible to ask the same question about jazz m about writers: What do the following two hundred noted j have in common? It would be a laundry list of the great 0 the pioneers in New Orleans and Chicago to young artist Or maybe the number is three hundred, but it doesn’t me did the work, remarkable work, creating designs that arc t his finest dust jackets. There is, however, one important c Paul knew—and still knows —many of the musicians. Wil jackets it was them and us, but with the musical projects ; cians it was us and us. Orrin Keepnews tells the story of signing the legendary onions Monk to Riverside. l ie and Bill Grauer made cert �the books; he found the j a succinct design. He also 'atenvorks, maybe the best of the six, but the publisher used only the illustration (which Paul says he’d like to redraw). The wish to redraw the horse-drawn trolley is indicative of Paul Bacon’s consummate professionalism —he wants the work to be correct and he will fight for it. Quietly. Hanis Lewine calls him a “self-effacing fighter,” an artist who was not schooled in any tradi­ tional manner, but who emerged from the fine arts background of the times. Take a look at Jack Kerouac’s Visions of Cody (Figure 23). What sets the design apart, what makes it a Paul Bacon design, is his understanding of tire book, his presentation of Jack Duluoz and Cody Pomeray in a seamless linear landscape that begins with the spine and continues across the front of the book. Lester and Billie, a diner, auto­ mobiles, the two main characters, all “Groovin’ High.” Or look at the leaning trumpet player on the cover of Ross Russell’s The Sound. Someone once said, “You can’t judge a book by its cover” but they clearly hadn’t seen Paul Bacon’s dust jacket for Visions of Cody. What about his other primary' design activity', covers for 78-rpm albums and LPs, as well as CD booklets? Paul’s other artistic life was in full bloom for a dozen years, roughly 1947 to 1959, hibernated for a few years, and then took off again in the mid-1980s. It would, of course, be possible to ask the same question about jazz musicians as about writers: What do the following two hundred noted jazz artists have in common? It would be a laundry list of the great ones, from the pioneers in New Orleans and Chicago to young artists of today'. Or maybe the number is three hundred, but it doesn’t matter. He did the work, remarkable work, crealiting designs that are the equal of his finest dust jackets. There is, however, one important difference: Paul knew—and still knows—many of the musicians. With the dust jackets it was them and us, but with the musical projects and musi­ cians it was us and us. Orrin Keepnews tells the story' of signing the legendary' Thelonious Monk to Riverside. He and Bill Grauer made certain they took Paul along to the meeting. They knew (and they knew Monk knew) that back in the 1940s when some of New York’s alleged finest suggested that Monk should go downtown, against his wishes, Paul was one of the people who put up the money to gain his release. This is not to suggest that Monk signed with Riverside because of Paul’s presence, but there’s nothing wrong with insurance—and Monk signed the contract. Paul set standards for LP jacket design. He was, after all, there at the very beginning, and his work for Blue Note, Riverside, and RCA’s label “X” has become as legendary' as those companies and the music they released. And what made this early work so remark­ able was that he had a different signature style, for three different companies—simultaneously. A Paul Bacon Blue Note design was instantly recognizable in the early' 1950s, as was one for Riverside or “X”. Even a casual glance at a jacket in a bin at Sam Goody’s, or even Big Joe’s on 46th Street, would say Paul Bacon, but it would also identify' the company. Which was the idea, because even though the product issued by each company was jazz, it was often very' different. And the same rules applied to the album covers as the books, he listened to them all. The main difference was that Thelonious Monk’s Mysterioso LP required about forty' minutes of listening, with repeated playing a distinct bonus, while 398 pages of convoluted Kerouacian prose, set in tiny type on the pages of Visions of Cody, took a little longer to digest. Paul claims he reads quickly'. Not that quickly. Then there’s Paul’s purely musical life, the life of a jazz musician playing the most lowly of instruments, a comb, amplified by a sheet of cellophane. A certifiable genius like Thelonious Monk had a hard time finding gainful employment. What if you are an enthusiastic art director with a comb? It would, of course, be possible to make another list of musicians, equally long, though perhaps not quite as diverse, with whom Paul made music for half a century. In the dogeat-dog world of live jazz, he managed to survive with a hot comb This Is Not a Comb ° 13 �and mostly sentimental vocals-just vocals—just the right combination of swee sweet and hot. But his musical work paid few bills and was not particularly gainful. Thank goodness he had a day job and owned the studio. If there was a session and it had been a particularly good night, Paul could be grateful that as he pulled himself off the bandstand just in time to make it to the office, the only person who could fire him was himself. Paul was a tentative performer, and it all began with the same gang that revolved around The Newark Hot Club, The Record Changer, and the assorted record labels for whom he produced album designs. Bill Grauer was the primary- culprit. He organized I : I 'I st g got ] H ‘Willie the Weeper’ or ‘Cake Walking Babies from bullfrOggin’ it. There was only one micro stl|dio and j had to stand ()n , ,a [ .lt basket to get close enough Io it to be heard. There was The Washboard Five, and the I lot Damn Jug Band of New York, and much traveling in search of musical activity (in and out of New York City, but rarely much further than New Jersey or Connecticut). By the late 1950s, however, the Paul Bacon Studio was much expanded, there were seven employees, and with the added responsibility, Paul cut back on his musical activity. Bui lie always kept his comb in his pocket, ready for action, cither improvised or regular Friday night musicales at the home of his wife’s parents on Riverside Drive (yes, that’s where the name came from). Grauer was an unabashed champion of the comb as a hot jazz instrument. A small comb, a bit of cellophane, the ability' to hum a tunc and a loosely scheduled. A most pleasant bit of musical action occurred in the 1960s, when sense of rhythm and timing were all that was required. Some people don’t approve of the comb as an instrument; and before he began his career, Paul Bacon was solidly in the anti-comb camp. He went to a musicale and “put up with tins old-fashioned and somehow I got the courage to let him know 1 had a comb and stuff, sneering inwardly all the while, unwilling to do anything but observe." Then a funny' thing happened. Grauer suggested he try' it. great night.” Bob Greene rekindled Paul’s interest in live performance in 1976 He did, and he found he was a natural if ever there was one. He went every Friday night, creating musical mayhem with Grauer, and explains the circumstances in remarks that can be found Conrad Janis, and four guys named Bob: Greene on piano, Thomp­ son on washboard, Sann on banjo, and Lee on jug. The Hot Club of nanstine, told him about a band that was being organized to play straight New Orleans jazz, for fun. A bit later came the chance to he found himself at the justifiably legendary Earthquake McGoon’s in San Francisco. “Turk Murphy was playing ‘Shake That I hing’ he asked me to sit in. When we finished he said. Don’t go way’ and then Clancy [Hayes] came over and said. ’I thought everybody in the [Mound City] Blue Bowers was dead.’ We played for the rest of a elsewhere in this catalogue. In 19S0, another friend, Charlie Son- Riverside Drive was often overloaded with combs, but all the partici­ play at 1 he Cajun, a New Orleans—sty le restaurant in New York pants had a little more hair in those days. On at least one occasion Orrin joined Paul and Bill for a comb trio, and complaints were City. 1 he job was to last eight weeks, but in one form or another, it has lasted nearly two decades. Tuesday nights at The Cajun, with heard from as far away as the Jersey shore. Paul kept making music and got a little serious about it. He even appeared on a record in 1951, four selections with cornet player Carl Halen, which were eventually released on Riverside. In his own Stanleys Washboard Kings, often is musical magic. The small bandstand comfortably holds aboutt seven guys, but I’ve seen as many as fourteen crowded into the sp;lace. On the right night, its as good as anything in town-and there’s some pretty good stuff in this words, “I sang on ‘Heebie Jeebies’ and ‘Dr. Jazz.’ They' didn’t let me town. 14 • The Graphic Art of Paul Bacon Paul is a modest guy. I le do ■ t’l guess is there are two mam reasons he doesn’t. One is tiler much to remember, and if you focus excessively on vour p achievements, there probably won’t be many in the future important, he learned long ago that while you’re talking it Io do anything else. And in an ever-lengthening career, wl has merrily combined literature and music for six decades still much Io do. I lis pen and comb are still poised, ready If you live long enough, are creative enough, and keep yo order, you can accomplish a great deal. Patil isn’t inelinec on. he once wrote the barest of biographic details about h two scraps of paper purloined from an unsuspecting W est innkeeper. A barely adequate Aubrey entry. The foregoing offers a few more details, but the followi: for those who are concerned, a few biographical specifics from the two scraps of paper: �r’ or ‘Cake Walking Babies from Home.’ I gin’ it. There was only one microphone at rsity studio and 1 had to stand on a wasteto it to be heard.” ird Five, and the Hot Damn Jug Band of ling in search of musical activity (in and rarely much further than New Jersey or :950s, however, the Paul Bacon Studio was e seven emplovees, and with tire added k on his musical activity. But he always t. ready for action, either improvised or isical action occurred in the 1960s, when tifiablv legendary Earthquake McGoon’s urphy was playing ‘Shake That Thing’ rage to let him know I had a comb and i we finished he said, ‘Don’t go way’ and over and said. ‘I thought everybody in the was dead.' We played for the rest of a Paul is a modest guy. He doesn’t say much about himself, and my guess is there are two main reasons he doesn’t. One is there’s just too much to remember, and if you focus excessively on your past achievements, there probably won’t be many in the future. Equally important, he learned long ago that while you’re talking it’s difficult to do anything else. And in an ever-lengthening career, which so far has merrily combined literature and music for six decades, there is still much to do. His pen and comb are still poised, ready for action. If you live long enough, are creative enough, and keep your wits in order, you can accomplish a great deal. Paul isn’t inclined to ramble on. he once wrote the barest of biographic details about himself on two scraps of paper purloined from an unsuspecting West Coast innkeeper. A barely adequate Aubrey entry. The foregoing offers a few more details, but the following outlines, for those who are concerned, a few biographical specifics, taken from the two scraps of paper: Paul Bacon was born on Christmas day in 1923. The Bacon family is very old and dates back to 1640, with Michael Bacon in Dedham, Massachusetts. The family grew, parts of it prospered, and others didn’t. A few members achieved some success in fields as diverse as civil service, architecture, growing roses or even acclaim, in book jacket design. Paul was educated at various schools, finally graduating from Newark New Jersey’s Arts High School in 1940. After a couple of years of seasoning, he joined the Marine Corps in April 1943 and remained with that august organization, visiting assorted Pacific and Far Eastern locations, until April 1946. He returned to New York City and got busy with his pencil and a comb. Paul’s career can, of course, come crashing down in a moment, if the Internet makes books redundant, CDs become microchips that don’t need booklets, lawsuits force cigarette manufacturers to cease using cellophane, and Speert stops making nifty combs. All very unlikely, at least for the time being. It’s been a good ride, Heller and Hellman in the morning, Morton and Monk at night. And even if the Testarossa didn’t make it out of the garage, the clunks that did are still chugging along just fine. ul’s interest in live performance in 1976 ices in remarks that can be found In 1980, another friend, Charlie Sonrand that was being organized to play >r fun. A bit later came the chance to )rleans-style restaurant in New York lit weeks, but in one form or another, it :s. Tuesday nights at The Cajun, with often is musical magic. The small s about seven guys, but I’ve seen as ito the space. On the right night, it’s as ind there’s some pretty good stuff in this This Is Not d Comb • 15 i 4 •i i �“JACKET DESIGN BY PAUL BACON Stanley I Grand the New York literary and A sideman, Paul Bacon has played on /% jazz scenes for decades. Rarely center stage, he is an accomJ- A. panist and collaborator whose solos interpret, expand upon, color, and otherwise modify' and amplify' the main melodic theme. In so doing, his vision has become an inseparable part of countless compositions. As a long-time designer of dust jackets and record albums, Bacon has performed an essential role in the creation, positioning, and marketing of cultural products. Without doubt every literate American has seen and held his work. Every serious jazz fan has slipped a record into an album cover he designed or a CD into one of his jewel cases. His contributions to the cultural icons of our time are unparalleled. Yet he lives in his own Catch-22 C (for which he designed the cover, Figure 7): everybody knoi>ws the l. • I work, nobody knows the name. Well not exactly. Authors have nothing but the highest regard for Bacon’s work. Ira Levin (Rosemary’s Baby, Figure 15) wrote: “I know of no designer whose book jackets stand so strongly as independent art works while at the same time conveying perfectly the mood and content of the books they serve. Paul Bacon is to jacket design what Ella Fitzgerald is to singing.” Concerning the cover for his novel Ragtime (Figure 30), E. L. Doctorow stated that it is “a classic of book jacket design—simple and immensely evocative at the same time.” In a letter dated May 19,1998, William Styron wrote, “I recall the excitement I felt when I first saw Paul Bacon’s design for Nat 16 Turner [Figure 16]. It still seems to me a masterpiece of jacket design and has remained prominently framed in my house for thirty' years.” Robert Gottlieb, the legendary editor at Simon and Schuster, recalled that “the first great jacket [Bacon] did for S & S was for Meyer Levin’s Compulsion (Figure 5). Like all brilliant jackets, it was utterly effective and utterly unlike any other jacket The same was true of his work for Catch-22 [and] The Andromeda Strain" (Figures 7,19). Paradoxically, anonymity has given Bacon freedom to employ his urbane and understated wit, which abounds with subtle visual puns. I lis wit is dry, sharp, playful, and at times erudite, but never biting. When asked for a blurb, Joseph I Idler, for whom Bacon designed numerous dust jackets, responded with a pun of his own: “The coverage of my life as an author from ‘Catch-22,’ in 1961, to ‘Closing Time,’ 33 years later, may be unique in publishing.” The “coverage" of books with paper wrappings is a nineteenth­ century innovation that assumed a new' role in the twentieth cen­ tury. As Steven Heller and Seymour Chwast point out in Jackets Required (San Francisco: Chronicle Books, 1995), the venerable English firm of Longmans & Co. first introduced the dust wrapper or jacket in 1833 to protect their books from London’s ubiquitous soot and smog. For the next seventy or eighty years, the unadorned, for the most part plain brown wrapper was the standard book cover­ ing. I hen, around 1910, publishers started to include “blurbs — short quotations from recogui.wd authorities affirm excellence of the work at hand— on the jackets as; the prospective buyer. Willi the shift from protects design assumed an important role. Broadly speaking, jacket designs may be classific consisting of pure (although seldom simple) letteri containing illustrations. The best designers, like Pr design a cover either typograpically or pictorially. 1 jackets that relied solely on lettering, Bacon brougl master}' of freehand lettering (he relied on calligra set type), a linear sensibility, a broad knowledge of and historic type faces, and a delight in the challei within the constraints of designing small rectangul conjunction of these factors is readily apparent in 1 1 lenry Pleasants’s T/ie Great Singers: From the Dai Our Own Time, 1966 (Figure 15). Bacon has taken format, much favored by the countless dignitaries ' stare out at us from old engravings, to create a perioi has decorated further with shells and swags, garlanc die, and of course, beautiful lettering. In his picto number of which will be considered in this essay, was to distill an essential characteristic of the work Although Bacon had designed a number of recc in the late 1940s, his first book project was the jack tions for Bill Westley’s Chimp on My Shoulder, 19: Westley had gone to Africa on behalf of the high-r Anthropoid Ape Research Foundation, which was raising chimps for laboratory' experiments. Findinj short of good breeding stock, the foundation dispa the Belgian Congo, where he had many adventun flora and fauna — including snakes, missionaries, r chimps—large numbers of which he trapped and Florida. �e a masterpiece of jacket design d in my house for thirty years.” at Simon and Schuster. icon] did for S &' S was for . Like all brilliant jackets, it : any other jacket The same j The Andromeda Strain' Bacon freedom to employ his lounds with subtle visual puns, nes erudite, but never biting, r, for whom Bacon designed i a pun of his own: ‘‘The ‘Catch-22,’ in 1961, to ‘Closing 1 publishing." wrappings is a nineteenthv role in the twentieth cenhwast point out in Jackets ooks, 1995), the venerable introduced the dust wrapper from London’s ubiquitous eight}'years, the unadorned, was the standard book cover­ ted to include “blurbs”— short quotations from recognized authorities affirming the overall excellence of the work at hand —on the jackets as an inducement to the prospective buyer. With the shift from protection to marketing, design assumed an important role. Broadly speaking, jacket designs may be classified as either those consisting of pure (although seldom simple) lettering or those containing illustrations. The best designers, like Paul Bacon, could design a cover either typograpically or pictorially. In designing jackets that relied solei}' on lettering. Bacon brought to the process a mastery of freehand lettering (he relied on calligraphy rather than set type ), a linear sensibility, a broad knowledge of contemporary and historic type faces, and a delight in the challenge of working within the constraints of designing small rectangular spaces. The conjunction of these factors is readily apparent in his jacket for Henn Pleasants s The Great Singers: From the Dawn of Opera to Our Own Time. 1966 (Figure 13). Bacon has taken the oval portrait format, much favored by the countless dignitaries whose visages still stare out at us from old engraxings, to create a period design, which he has decorated further with shells and swags, garlands and a cartou­ che. and of course, beautiful lettering. In his pictorial designs, a number of which will be considered in this essay, Bacon’s objective was to distil] an essential characteristic of the work into an image. .Although Bacon had designed a number of record album jackets in the late 1940s, his first book project was the jacket and illustra­ tions for Bill Westley’s Chimp on My Shoulder, 1950 (Figures 1-4). Westlev had gone to .Africa on behalf of the high-minded-sounding .Anthropoid Ape Research Foundation, which was in the business of raising chimps for laboratory experiments. Finding itself running short of good breeding stock, the foundation dispatched Westley to the Belgian Congo, where he had many adventures with the local flora and fauna —including snakes, missionaries, natives, and chimps—large numbers of which he trapped and shipped off to Florida. Bacon’s illustrations for this book project contain the essence of his fully developed style and sensibility. First and foremost, as Levin observed above, Bacon has an ability to capture the mood and content of the work. This he did with playful line drawings, strong graphic design, economy of means, and subtle humor. The spare, expressive linework of Figure 1 recalls that of the caricaturist Al Hirschfeld, while Figure 2, shows Bacon’s ability to exploit the expressive power of negative space. Mostly, however, the drawings abound in a gentle lampooner}' that recalls a time, a half-century ago, when vivisection, colonialism, and racism were viewed differently. The jacket for William Styron’s The Confessions of Nat Turner, 1967, an explosive novel published during the height of the civil rights movement, provides an example of the high-quality design admired by others (Figure 16). Bacon, who always reads the book prior to designing the jacket, knew that the novel centered on events surrounding an 1831 Virginia slave rebellion led by Nat Turner, a slave and preacher. The jacket design with its mixture of different type faces recalls the typography found on the era’s escaped slave notices. Although the lettering is freehand, it is based on the old wooden type used in such notices. The irregular lines separating the text elements further suggest hand-set wooden type. Bacon replaced the American eagle that sometimes adorned these broadsides with the silhouette of an avenging angel. This black angel not only evokes countless representations of the Expulsion from the Garden of Eden but also refers specifically to the fact that Turner, at the time of his surrender, was armed only with “a small light sword.” In William Styron’s view “the fiery red background and the black avenging angel were matchlessly suited to the theme of slave insur­ rection.” As a design, the jacket subtly balances Styron’s story of a cataclysmic event that left fifty-nine whites dead and shattered forever the illusions, if not the innocence, of the slave owners. Thirty years later, Bacon designed the jacket for another contro­ versial book dealing with race relations in old Virginia: Annette “Jacket Design by Paul Bacon" ® 17 �Gordon-Reed’s Thomas Jefferson and Sally Flemings: An American Controversy, 1997 (F igure 44). Because of its scandalous, if not altogether new, argument that the black slave Sally' Flemings bore children to the third president of the United States, practically' every eminent Jeffersonian historian blasted the book when it first ap­ peared. Recent DNA studies, however, have persuaded most, if not all, of Gordon-Reed’s critics to abandon their objections. Bacon s jacket depicts a three-quarter view of a tight-lipped Jefferson and a profile silhouette of Flemings, whose features are unknown to the artist. The portrait of Jefferson has a clear linear simplicity'. Values are modulated bv scratching through the drawn lines and exposing the white board underneath: some of Jefferson’s bangs, for example, show simple hatching while others are cross-hatched. This design, in which Hemings’s profile appears as a shadow cast by the great man, subtlv echoes and reinforces the book’s thesis while simultaneously creating a multiple visual pun on the concepts of secrets kept in the dark and dark secrets. Finally, that he manages to produce such an effective dust jacket within the economic limitations of two-color printing is especially' admirable. Bacon’s drawing facility is well demonstrated in the pen and ink jacket design for Georges Simenon's The Little Saint, 1965 (Figure 12). A recently deceased French national treasure, whose passing is mourned by all Francophiles, Simenon produced an astonishing stream of mvsteries featuring Inspector Maigret. In this novel, however, Simenon created, in his own words, a “perfectly serene character,” namitely Louis, a child of the Paris slums at the start of the twentieth century. Unperturbed by the squalor of his surroundings, Louis maintains a happy, aloof, and detached outlook, which continues even after he starts working in les Halles —the legendary' food markets of central Paris now replaced by a shopping mall — while struggling to become a painter. Bacon captures well Louis’s gray monochrome world: the little boy in a frock standing on the cobblestones beside his mother and her pushcart brimming with j8 • The Graphic Art of Paul liacon "gures, which occupy only the bottom qu; . r of vegetables. The. figi ibined with an atmosphere that evokes bone chilling, the jacket, comb.... wintry rainy days in Paris, could easily convey a m<lood of desperation and hardship, except for the bits of local color in the hair. At times, like the jazz musician he is, Bacon exploits the physical properties of color to create an unexpected effect. His jacket for Norman Mailer’s An American Dream, 1965, contains a detail of the American flag rendered in red, black, and blue (Figure 11). Accord­ ing to Bacon, if one stares intently at the flag for a while and then looks at a white wall, one will ‘see’ a true representation of Old Glory. Thus the colors are more than an optical trick; they represent, on a fundamental level, the perversion of the American dream, which is the theme of Mailer’s book. But also, in subtle and punning ways, the jacket does more. The story' concerns tire unmaking of Stephen Richard Rojack, a war hero, ex-congressman, and all-around aging golden boy, who (like Mailer himself) had basked in youthful acclaim. Our hero, however, begins to self-destruct when he decides to run as a Progressive Party' candidate during the election of 1948. After this political debacle, he becomes a college professor, a popular author, a television personality, and the husband of a rich but difficult woman, whom he murders. Thus, properly, begins our story of Rojack’s tortuous 32-hour odyssey through the hells of New York City'. The cover, which seems to include a life-preserver from the S.S. American Dream, evokes the desperation of a man overboard and struggling to survive while simultaneously suggesting a clock face with time running out. The late addition of a photograph of the author’s girlfriend, at the request of Mailer himself I am told, com­ pletes the design and seems to symbolize, on some level, the wide­ spread challenges to authority' and received wisdom that character­ ized the mid-1960s. Bacon s ability' to capture the essence of a work is seen as well in his jacket for William Golding’s The Spire, 1964 (Figure 9). 1 his, Golding s third novel —he had previously enjoyed great succes de scandale with Lord of the Flies—is concerned with tire fu tragedy of the human spirit. The protagonists, one an ide who seeks to add an immense steeple to his mighty cathe the other a practical master-builder whose vision, unlike dral’s somewhat shaky foundations, rests solidly on the gr represent the eternal struggles between spirit and materi; and modesty, soaring and plodding. The jacket with one heavenward, blue like the sky, holds or perhaps offers the unseen deity while the other, an angel or devil, looks ear thee behind me, Satan! And yet was not Lucifer once th. When is the line between worship and rivalry crossed? A different type of worship is the subject of Ira Levin’s Baby, 1967 ( Figure 15), a Gothic tale set in the Bramford West Side building with a gargoyle facade and a long his unpleasant events (murder, suicide) and people (baby er ers). Into this milieu move the newlyweds Guy, an actor Rosemary'. After the older couple next door befriend the als, Guy’s career begins to take off. But the price is steep mary learns when she becomes pregnant. Bacon’s ink ar illustration depicts a rambling brownstone, complete wi gables, and tower, whose distorted perspective and upwa alludes to, if ever so discreetly, Rosemary’s ritual impreg Ritual impregnation and more play a kev role in Thoi Harvest Home, 1973; but here the final scene takes place woods just outside a Norman Rockwellesque town (Figi story follows Ned Constantine, a Madison Avenue type ’ from the city to build a new and better life for his family New England hamlet of Cornwall Coombe. His dream vision come to a shattering conclusion when he stares u forbidden mysteries of Harvest Home, a modern chapte old, and often bloody, worship of Demeter. Bacon’s agit pen-and-ink drawing stacks up all the elements of the frenz the Moon of No Repentance, the black crow, idyllic C< �he bottom quarter of it evokes bone-chilling, y a mood of desperation r in the hair. n exploits the physical feet. His jacket for contains a detail of the re (Figure 11). Accordfor a while and then esentation of Old ?al trick; they represent. American dream, a subtle and punning the unmaking of isman, and all-around 1 basked in youthful uct when he decides to election of 1948. After fessor, a popular nd of a rich but rperlv, begins our storv he hells of New York (-preserver from the of a man overboard ' suggesting a clock of a photograph of the nself I am told, comome level, tire widcsdom that characterork is seen as well in 14 (Figure 9). This, yed great succes de scandale with Lord of the Flies—is concerned with the fundamental tragedy of the human spirit. The protagonists, one an idealistic dean who seeks to add an immense steeple to his mightv cathedral and the other a practical master-builder whose vision, unlike the cathe­ dral’s somewhat shake foundations, rests solidlv on the ground, represent the eternal struggles between spirit and material, hubris and modesty. soaring and plodding. The jacket with one figure, eyes heavenward, blue like the sky. holds or perhaps offers the spire to an unseen deity while the other, an angel or devil, looks earthward. Get thee behind me. Satan! And yet was not Lucifer once the favorite? When is tire line between worship and rivalry’ crossed? A different type of worship is the subject of Ira Levin’s Rosemary’s Baby. 196- (Figure 15). a Gothic tale set in the Bramford, an Upper West Side building with a gargoyle facade and a long history' of unpleasant events (murder, suicide) and people (baby eaters, conjur­ ers,. Into this milieu move tire newlvweds Guy, an actor, and Rosemary. After the older couple next door befriend the new arriv­ als. Guy’s career begins to take oft. But the price is steep, as Rose­ man' learns when she becomes pregnant. Bacon’s ink and gouache illustration depicts a rambling brownstone, complete with gargoyles, gables, and tower, whose distorted perspective and upward thrust alludes to. if ever so discreetly. Rosemary’s ritual impregnation. Ritual impregnation and more play a key role in Thomas Tryon’s Harvest Home, 1973; but here the final scene takes place in the woods just outside a Norman Rockwellesque town (Figure 25). The storv follows Ned Constantine, a Madison Avenue type who escapes from the citv to build a new and better life for his family in the small New England hamlet of Cornwall Coombe. His dream and his vision come to a shattering conclusion when he stares upon the forbidden mysteries of Harvest Home, a modern chapter in the ageold, and often bloody', worship of Demeter. Bacon's agitated, colored pen-and-ink drawing stacks up all the elements of the frenzied ritual: the Moon of No Repentance, the black crow, idyllic Cornwall Coombe, corn stalks and ears, the wild celebrants, the barn, tomb­ stones, a death’s head scarecrow, and the raised sickle commencing its bloody rendezvous with the Harvest Lord’s throat. While the rituals in Harvest Home have ancient roots, Thomas Berger’s novel Regiment of Women, 1973, looks forward to relations between tire sex'es in 2125 (Figure 24). Things have changed and not changed; women rule but no social improvement is apparent. Men have silicon enhanced breasts; and one of them, Georgie Cornell (a twenty-nine year old secretary' being treated for frigidity' by a psychia­ trist who favors paste-on beards and dildos) is having difficulties adjust­ ing. To capture the topsy-turvy structure of the new world order, Bacon appropriated Ingres’s famous tondo of The Turkish Bath, 1863, and switched genders in this harem scene of erotic fantasy. But perhaps the final word on the gender wars might well be Harry' Crews’s mordant The Gypsy’s Curse, 1974 (Figure 27). The eponymous curse, paraphrased and sanitized a bit, is “may you find a woman who fits you.” The curse falls upon Marvin Molar, a deaf mute with withered stumps (or more precisely appendages) in place of legs, who has found a home at the Fireman’s Gym in Tampa, Florida, where he handwalks around, reads upscale magazines and authors like Graham Greene, or entertains children and housewives with his marvelous balancing acts. When a woman enters Marvin’s halcyon world, it undergoes a drastic dislocation. His fate is sealed; the curse is fulfilled; there is nothing he won’t do! Bacon captures the humor of Crews’s novel by depicting Marvin’s head dangling between his leg-like arms like misplaced (or not) genitalia. In 1930, Henry' Pits observed that “A collection of contemporary book jackets serves as a barometer of interest and taste. They will carry' the flavor of our age as effectively as the Victorian valentines or the early English chapbooks do theirs.” (Quoted in Heller and Chwast, Jackets Required.) Whereas many of the great jacket designs from the 1920s and 30s reflected a knowledge of art modems, Bauhaus, or Constructivist design principles, the covers produced by "Jacket Design by Paul Bacon" • 19 ? �! Paul Bacon show none of that commitment to a particular school of design. Rather his designs tend to be more individualized; they respond to the specifies of individual commissions. But then ours is an eclectic era that is not dominated by any single style, so it is not unexpected that designers would have a variety of expressions. This flexibility also reflects a period in publishing that is fast disappearing. During most of Bacon’s career, designers were free­ lancers. who could produce professional results on tight deadlines and at a relatively low cost. (Typically, Bacon spends three weeks on a jacket design: two weeks for reading the book and making a full­ blown sketch and one week for finalizing the design once it has been approved.) Working closely with editors, these artists and 20 • The Graphic Art 0/ Paul Bacon designers enjoyed a great degree of freedom and frequently ei; j irony, humor, or visual puns as in the jackets for E. J. Kahn, ' . Big Drink: The Story of Coca-Cola, i960 (Figure 6). Hank O’Neal has argued persuasively that Bacon’s career is intimately and inextricably linked to the world of jazz. Those interconnections between music and art epitomize a time when the literary and musical worlds were less balkanized, or, for that matter, specialized. Now, as the publishing industry increasingly consoli­ dates, as advances to authors reach the stratosphere, as movie rights become increasingly lucrative, and as promotion budgets swell, layers of management have proliferated, and independents such as Paul Bacon are becoming anachronisms. It is a loss. ra— 2? 7T 1-4 Bill Westley Chimp on My Shoulder E. P, Dutton, 1950 Courtesy Paul Bacon Studio �edom and frequently employed jackets for E. J. Kahn, Jr’s. The ;6o (Figure 6). ely that Bacon’s career is the world of jazz. Those art epitomize a time when the jalkanized, or, for that matter, idustiy increasingly consolie stratosphere, as movie rights promotion budgets swell, ■d, and independents such ns. It is a loss. -■j 1-4 Bill Westley Chimp on My Shoulder E. P. Dutton, 1950 Courtesy Paul Bacon Studio W �Com5! ft B ■ anove^Z)^. AtHYCR EEVlN 5 Meyer Levin Compulsion Simon and Schuster, 1956 Courtesy Simon & Schuster, Inc. 6 E. J. Kahn, Jr. The Big Drink: The Story of Coca-Cola Copyright 1950, © 1959, i960 by E.J. Kahn, Jr. Reprinted by permission of Random House, In, 7 Joseph Heller Catch-22 Simon and Schuster, 1961 Courtesy Simon & Schuster, Inc. �I <■ i .1 .1 lb K 8 7 >ry of Coca-Cola 9, i960 by EJ. Kahn, Jr. jd of Random House, Inc. Joseph Heller Catch-22 Simon and Schuster, 1961 Courtesy Simon & Schuster, Inc. Ken Kesey One Flew Over the Cuckoo's Nest Copyright © 1962,1990 by Ken Kesey Used by permission of Viking Penguin, a division of Penguin Putnam, Inc. �Arthur Hailey >TAX,,VI^ I Hollo 9 William Golding The Spire Harcourt, Brace & World, 1964 Courtesy Paul Bacon Studio 10 ■ MM Arthur Hailey Hotel Doubleday, 1965 Courtesy Bantam Doubleday Dell 11 Norman Mailer An American Dream Dial Press, 1965 Courtesy Bantam Doubleday Dell �« fair s L'S? r '^.,s !,.. SSS ... NS-S’,!' ilcv wJ filb ■ M Owl NOVEL . >lel " 1 i O. 'S'': ' SV 't -j.Z is ISHlii fc r' ■ ^...,S . 's. SSS^^SNsS^sS. s Vs-s 11 oubleday Del] Norman Mailer An American Dream Dial Press, 1965 Courtesy Bantam Doubleday Dell 12 Georges Simenon The Little Saint Harcourt, Brace & World, 1965 Courtesy Paul Bacon Studio ■■ ■ �TH E TIME OF FMEiWW The first collection ol short stories since THE DELICATE PREY Paul Bowles 13 Henry Pleasants The Great Singers: From the Dawn of Opera to Our Own Time Simon and Schuster, 1966 Courtesy Simon & Schuster, In 14 Paul Bowles rhe lime of Friendship Holt, Rinehart and Winston, 1967 Courtesy Paul Bacon Studio 15 Ir* Levin ^rnary . Bq, R()Pyr,g|lt y ( printed b. ' ’<■-■ 1lra Ptnni l<‘VIn �A .1 l I a A Novel by IK A LI XIX b s A darkly brilliant tile uf modern ikrihn that, like James' I . > RX OF THE SCRFM, induces the reader to believe the tinbelievible. 1 believe.! it and was altogether enthralled.” M THE -TRUMAN CAPOTE 1 --.T I ■: Confessions OF BA i N«A Turner Hohs >• 11 ■S 4 KISS BEFORE L’ViXi; 1 A i BY I WILLIAM STYRON KAX I> <» M HOI s 1: BOOK J 15 Ira Levin Rosemary’s Baby Copyright © 1967 by Ira Levin Reprinted by permission of Random House, Inc. 16 William Styron The Confessions of Nat Turner Copyright © 1966,1967 by William Styron Reprinted by permission of Random House, Inc. I -■ — IS �I OR The Children's crusade a w DOQDEiaCCKXECCCCDGOKltO............ ,.., .OOGuCGOKS OQDDDQOQnD^aGGODCCO. >, .CQDQKK ccnnDEjucnnnnijDGDcDa ■.■...•...•.•..i 1221 .dec .112211.. CCCCDClCGGuCOGCO... >............. 11123321 11..........EC 12332111 DCCCOCC2CCCCDQ. ...... |1223211......... .11223211 ...... ... CDDOOOCCOCCDD. ..................... 1 1221 ........... , ...11221. DCCCCDOCCOlQ. ....... . 11.... . ODOODODOODOn 00000000000. ODDOOOOOOD." nOODDDDCDO.. OODODGGCDD.. ..neatn......□OCCOCOCDD. . 1123^22221., CDGCOODODO.. &3221 .» j COGOCDDDGOO. ... 22? 7^.422. J COGEOOGOOUD......... I233AEL>. ■ ODGOOnDDODDO........ I I23<<5SL7^,;»;>^_21 CGGOODDCDDOO.......l234SEb7fl&qa7kS432l DCOODGCCOOOOO.......I l235L7?l.7fl5422l. DCCCQOCDDCDOaOO....... 112345W321.... GOGCDGDOGCDOQOOuD. ..... 123221. ..DO CCGOOCOOOOOOGOOOCCO 1221. •..... GOCOO GGQODCGOGDDDCOGCGDCQGm. .11.. >•< <.GDCOODCC CGDDDGCDGDDOGnnaoaOGDOGOQDO.. .C0GGDGCCG2D0 THE ANDR.OME STRAIN KNEW NOVEL SY A NOVEL MICHAEL CRICH 17 ■ Kurt Vonnegut, Jr. Slaughterhouse-Five, or The Childrens Crusade: A Duty-Dance with Death Del] Pub. Co., 1968 Courtesy Bantam Doubleday Dell 18 John Cheever Bullet Park Alfred A. Knopf, 1969 Reprinted by permission of Alfred A. Knopf, In 19 Michael Crichton The Andromeda Strain Al frcd A. 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Knopf, In T 20 Philip Roth The Andromeda Strain Portnoy’s Complaint Alfred A. Knopf, 1969 Copyright © 1969 by Philip Roth ■ �N P I 4 ’4 --- l* a* s ' . ... g V1JIONJ [ | ©foody / \n< zlfSEflllKg ^v\.mw _ ________________________________________ ■ _ . ■ ! _____ h. ■ 111 fete ■■ : MK KEROU/K < IKSKrtW-HU 23 21 Ernest Hemingway Islands in the Stream Charles Scribner’s Sons, 1970 Courtesy Scribner, a Division of Simon & Schuster, Inc. 22 S. J. Perelman Baby, It’s Cold Inside Simon and Schuster, 1970 Courtesy Simon & Schuster, Inc, JACK KEO Jack Kerouac Visions of Cody McGraw-Hill, 1972 Used with permission of John Sampas, literary rc of the Estate of Jack and Stella Kerouac �7° aster, Inc. REGIMENT OF WOMEN THOMAS BERGER 3 A - j Mr A < 1 s 23 Jack Kerouac Visions of Cody McGraw-Hill, 1972 Used with permission of John Sampas, literary representative of the Estate of Jack and Stella Kerouac 24 Thomas Berger Regiment of Women Simon and Schuster, 1973 Courtesy Simon & Schuster, Inc. �I Ii, • ■ • --T ■ I ■ xjWSfy H I: fS M SI i II i I I ---------- ----- h n0Vt'l h' author of The Other ■^HARVEST K- home & R''THOMAS xSKSjTRTON \;*Sk ■ III 25 Thomas Tryon Harvest Home Alfred A. Knopf, 1973 Reprinted by permission of Alfred A. Knopf, Ini w ■Ki WH -j, �i J n the author of Other RVEST HOME IOMAS IRYOA i row® i 1 - I RobertMoses andtheFallofNewark t »! 26 Robert A. Caro The Power Broker: Robert Moses and the Fall of New York Alfred A. Knopf, 1974 Reprinted by permission of Alfred A. Knopf, Inc. 27 Harry Crews The Gypsy's Curse Alfred A. Knopf, 1974 Reprinted by permission of .Alfred A. Knopf, In< �r~—■.---------- ZEN I AND ! SHOGII A NOVEL OF JAPAN JAMES CLAVELL book of Dai I MOTORCYCLE [MAINTENANCE I, J An Inquiry into Values E.- L DOCTOKO' ROBERT M. PIRSIG 28 Robert M. Pirsig Zen and the Art of Motorcycle Maintenance: An Inquiry into Values William Morrow & Co., 1974 Courtesy William Morrow & Company, Inc 29 James Clave]] Shogun Atheneum, 1975 ourtesy Scribner, a Division of Simon & Schuster, Inc. 30 E. L. Doctorow Ragtime Copyright © 1974,1975 by E. L. Doctorow Reprinted by permission of Random House, Inc. �Bl KUN LOF JAPAN I JAMES CLAXELL MargaretAhvood ! I ft novel 6Y THE AUTHOR Of eje) ^ book of Darviel :A ■ I.BOIA ELDOCTOKOW ision of Simon & Sell uster, Ini 30 E. L. Doctorow Ragtime Copyright © 1974,1975 by E. L. Doctorow Reprinted by permission of Random House, Inc. H a novel 31 Margaret Atwood Lady Oracle Simon and Schuster, 1976 Courtesy Simon & Schuster, Inc. HHHI H ituw i'Mjgr idotct �dB I I n L Lo^S rT\ |A / X< 'j 1 S4 Robb* CooV Courtesy^' ’ lcAoss tou'sMcA Cove'1*1’1 ()\w<-r Vj.hA . ■ 'I he Rembrandt Panel V Brossn miA (,<>rap t’>1 (.•,<>urt</,y \.»nV Hr«>v.n «Ws4’ �COOK A THE REMBRANDT PANEL A NOVEL OLIVER BANKS THE TREASURE OF SAINTE FOY A NOVEL MacDonald Harris 34 Oliver Banks The Rembrandt Panel Little, Brown and Company, 1980 Courtesy Little, Brown and Company 35 MacDonald I larris The Treasure of Sainte Foy Atheneurn, 1980 Courtesy Paul Bacon Studio �If I “A tense, shrewdly modulated sea adventure in which a quartet of indentured Scandinavians attempt < ■. ajx from Russian America (1858 Alaska) in a stolen canoe, a Pacific journey far more rugged ‘than tl>r plain arithmetic of its inilti' . Doig deftly pilot* [hi,i] crew through a punishing journey to Ardorin (Oregon), maintaining a high level of tension, prate nwn. testing the rocky emotional water* of draper Readers wlin hailed Thii Hatue of Sky and H'l.itrr Brothen will find | tint] Doigcuntinu*.*a-, «pr writer of exulting originality . . . A polishhad chronicle of physical and spiritual endurance.’’ Knuct •> Rrvn axovu by ihi \i iHoitoi IVAN DOIG 1- 36 Ivan Doig The Sea Runners Atheneum, 1982 Courtesy Scribner, a Division of Simon & Schuster, Inc. Gill r"r' |e(l Atiu ’"I r'V Scr �I OR i •J f'i A i \ 0 V E L mers OUSE OF SKY )IG GaryJennings 37 Gary Jennings Aztec Atheneum, 1980 Courtesy Scribner, a Division of Simon & Schuster, Inc. 38 Mario Puzo The Sicilian Simon and Schuster/Linden Press, 1984 Courtesy Simon & Schuster, Inc. �i g I "1 s r I S-1 Obmutms SELECTED SPEECHES AND ESSAYS 1982-1984 PACO. STOW Henry Kissinger i HIG F A NOV E I. LARRY HEINEMANN AUTHOR OF CLOSE QUARTERS 39 Henry Kissinger Observations: Selected Speeches and Essays, 1982-1984 Little, Brown and Company, 1985 Courtesy Little, Brown and Company 40 Larry’ Heinemann Paco’s Story Farrar Straus Giroux, 1986 Courtesy Paul Bacon Studio 41 Jack Higgins The Eagle Has Flown Simon and Schuster, 1991 Courtesy Simon & Schuster, �OS •RY HIGGINS ' E'ER rriE author of The Eagle Has Landed LEEWUEEE f The Essential Wisdom and Lore fl J <EMANN ® from a Lifetime of Salmon Fishing MWOHOH 4 ELY-. Edited byJOHN MERWIN™ E QUARTERS 41 Jack Higgins The Eagle Has Flown Simon and Schuster, 1991 Courtesy Simon & Schuster, Inc. 42 Lee Wulff Salmon on a Fly Simon and Schuster, 1992 Courtesy Simon & Schuster, Inc. �T f eddie condor9! SALLY HEMINGS LrOOTT SHOT! featuring JACK TEAGARDEN GLENN MILLER COLEMAN HAWKINS PEE WEE RUSSELL red McKenzie A AN AMERICAN IF CONTROVERSY Annette Gordon-Reed _____J 43 Steven Goldberg Culture Clash: Law and Science in America New York University Press, 1994 Courtesy Paul Bacon Studio 44 Annette Gordon-Reed Thomas Jefferson and Sally Hemings: An American Controversy University Press of Virginia, 1997 Reprinted with permission of the University Press ofVirginia 45 Eddie Condon Eddie Condon’s Hot Shots “X” Vault Originals (a product of RCA) Used courtesy of The RCA Records Label, A Unit of BMG Entertainment ��g E g L El I vibes 47 Bud Powell The Amazing Bud Powell Blue Note Courtesy Capitol Records I 48 Milt Jackson Wizard of the Vibes Blue Note Courtesy Capitol Records ■ 49 John Eaton Made in America Chiaroscuro Courtesv Chiaroscuro Records �? E NOTE LP 5011 J ZZJ \ WASHINGTON, D.C. ^p= J\ §wI/zG .1 4 1 MADE IN AM ERICA i ■Zi c J FLOATING 49 John Eaton Made in America Chiaroscuro Courtesy Chiaroscuro Records JAZZ 50 New York Swing Live at the 1996 Floating Jazz Festival Chiaroscuro Courtesy Chiaroscuro Records FESTIVAL f �EXHIb ACKNOWLEDGMENTS “The Graphic Art of Paul Bacon” continues the tradition of “Cel­ ebrations of Music and Art” at Wilkes University. Previous “Celebra­ tions” have highlighted the musical and artistic talents of Bob Haggart (1984), Pee Wee Russell and George Wettling (1986), and Mel Powell (1987). Working on the current exhibition has been a pleasure. Not only have I had the privilege of getting to know Paul Bacon—a gentleman if ever there was one—graphic artist extraodinaire, smooth swing vocalist, and master of the hot comb, but 1 have also come to under­ stand why so many authors, editors, and musicians have such a special regard for Paul. The generosity and warmth with which these individuals have responded to queries have been enlightening. Special thanks must go to E. L. Doctorow, Robert Gottlieb, Ira Levin, Frank Metz, and William Styron. In addition, Hank O’Neal 46 specifically wishes to thank Lorraine Gordon, Bob Greene, Joseph Heller, Conrad Janis, Orrin Keepnews, Harris Lewine, and, of course, Paul Bacon, for supplying facts, quotes and encouragement in the preparation of his article. The Sordoni Art Gallery is most grateful to Flank O’Neal and Bob Greene for their wonderful, informative, evocative, and heartfelt essays; and to Andrew J. Sordoni, III; whose commitment to this project has been wholehearted and unwavering. The Gallery wishes to thank the publishers and copyright holders who have graciously allowed it to reproduce jackets or album covers designed by Paul Bacon. As always I appreciate the willingness of my colleagues Nancy L. Grand, Robert J. Heaman, and James L. Merryman to ' read' and’ critique my essay. -SIG >n underwriters Friends of the Sordoni Art Gallery M & T Bank Maslow Lumia Bartorillo Advertising Pennsylvania Council on the Arts The John Sloan Memorial Foundation, Inc. Andrew J. Sordoni, III Wilkes University �EXHIBITION UNDERWRITERS :ene, Joseph id, of course, ment in the lost grateful to ormative, ni, III; whose d unwavering. Tight holders album covers Friends of the Sordoni Art Gallery M & T Bank Maslow Lumia Bartorillo Advertising Pennsylvania Council on the Arts The John Sloan Memorial Foundation, Inc. Andrew J. Sordoni, III Wilkes University SPONSORS The Business Council CBI-Creative Business Interiors Mr. and Mrs. David C. Hall Marquis Art and Frame PNC Bank, NA Panzitta Enterprises, In ies Nancy L. ad and -SIG 47 �ADVISORY COMMISSION Bonnie C. Bedford, Ph.D. Freddie Bittenbender Christopher N. Breiseth, Ph.D. Marion M. Conyngham Virginia C. Davis, Chair Stanley I Grand, Ph.D. Robert J. Heaman, Ph.D. Mary Jane Henry' Keith A. Hunter, Esq. J. Michae] Lennon, Ph.D. Melanie Maslow Lumia Theo Lumia Kenneth Marquis Hank O’Neal Arnold Rifkin Charles A. Shaffer, Esq. Susan Adams Shoemaker, Esq. William Shull Helen Farr Sloan Andrew J. Sordoni, III Sanford B. Sternlieb, M.D. Mindi Thalenfeld Joel Zitofsky STAFF Stanley I Grand, Ph.D., Director Nancy L. Grand, Coordinator Earl W. Lehman, Preparator Gallery Attendants Deidre Blake Marcy Fritz Sarah Karlavage Jill Klicka Allison McGarvey Casey Williams Beth-Ann Witkowski ��; • 10 n - sll ■w » r-Z XT I y :.-. ... < . • < ■.;? ■ ..... I ■;/r^ " • • - —. * 1 •" -- ■ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1999 May 8 The Graphic Art of Paul Bacon Creator An entity primarily responsible for making the resource Paul Bacon Hank O'Neal Stanley I. Grand Stanley I. Grand Date A point or period of time associated with an event in the lifecycle of the resource 1999 May 8 - June 6 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Known for his music, Paul Bacon is also known for his astounding illustrations. Illustrating the covers of books such as Catch-22 and Rosemary's Baby, Bacon's work is well known throughout the art and literary world. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Paul Bacon illustration illustrator musician music Rights Information about rights held in and over the resource SAG