Wearing the so-called "tools of ignorance” — mask and chest protector — this "Baseball Catcher,” Leyendecker's 1909 Post cover prepares for what may be bone-jarring action at home plate.
:One of the most prolific and successful commercial artists of America's Golden Age of Illustration, Joseph Christian ("J.C.") Leyendecker (1874–1951) captivated the public with striking depictions of beautiful, glamorous young women and handsome, fashionable young men. A reclusive man of warmth, humor, imagination, talent and perception, he had his finger on the national pulse, producing artwork that appealed to a broad audience.
Although he executed many paintings for other purposes, it was Leyendecker's advertisements that made him famous, particularly "The Arrow Shirt Man."
In his career, it can be argued that Leyendecker surpassed iconic artist-illustrator N.C. Wyeth in his impact on American culture. With his readily recognizable "Leyendecker Look," he helped shape the face of a nation, created dozens of iconic images and virtually invented the concept of branding in advertising.
A major factor in US advertising throughout the first half of the Twentieth Century, Leyendecker created the model of the well-dressed American male with his menswear advertisements. His images, particularly of chiseled, handsome men, struck a chord with people eager to adopt a glamorous lifestyle, the foundation of modern advertising.
Between 1896 and 1950, Leyendecker painted more than 400 magazine covers, of which well more than 300 were for
The Saturday Evening Post.
Only Norman Rockwell, two decades later, was so prolifically identified with one publication. Indeed, Leyendecker became a major influence on the art of illustration and a model for a generation of younger artists, notably Rockwell, who began his career emulating Leyendecker.
Norman Rockwell, who admired and sought to emulate Leyendecker's art and subjects, was influenced early on by such Post covers as "Barking Up the Wrong Turkey,” 1926. The plight of the food-toting lad and his animated reaction were characteristic of the work of both men.
Over the years, Leyendecker created such instantly recognizable icons as Santa Claus and the New Year's baby that continue to this day as integral elements of Americana.
In spite of all these achievements, relatively little has been known about the man behind the illustrations until recent years. Last year, the first book on the artist in 30 years,
J.C. Leyendecker: American Imagist,
by Laurence S. Cutler, Judy Goffman Cutler and the National Museum of American Illustration, was published by Abrams. This handsome and useful volume goes a long way toward filling the information void about this intriguing and gifted illustrator.
Now, an appealing and educational traveling exhibition has further opened up the life and exposed a new generation to the achievements of this remarkable artist. "J.C. Leyendecker: America's 'Other' Illustrator," organized by the Haggin Museum in Stockton, Calif., has visited museums in eight states. It is currently on view at the William King Regional Arts Center through November 22.
The "other" in the exhibition title refers to the fact that Rockwell, who greatly admired Leyendecker's work, is considered by many to be America's favorite illustrator. Both men created imagery that bonded them with the American people to an extent unequaled by any of their peers, with the exception of Wyeth. But whereas Rockwell's current admirers include millions of nostalgic baby-boomers and others who grew up with his work, Leyendecker is little known to today's public.
With illustrations, advertising artwork, magazine covers and posters, this exhibition offers documentation about the accomplishments of an outstanding illustrator to a new audience.
If Leyendecker's standing within the ranks of leading American illustrators seems assured, the still sketchy details of his life stand in stark contrast to his self-created myth of artist-as-the-man. In person, he was short, shy and spoke with a stutter. As a gay man in a time when exposure meant ruin, he lived a reclusive life while courting fame through astute commercial strategies.
