Yale University Press | 208 pages | $40
By GREG COOK | December 3, 2007
William Steig, who spent his last decade in Boston, was one of the great cartoonists of the past century. He drew cartoons for the New Yorker and children’s books (one inspired the Shrek movies) with an endearing, spontaneous, ramshackle style that recalls kids’ doodles, and shares their sense of wonder and magic, too.
The Art of William Steig, published in conjunction with an exhibit at New York’s Jewish Museum through March 16, marks the centennial of Steig’s New York birth and is the first major assessment of his career since his death in 2003. It’s a soft-focus appreciation by curator Claudia Nahson, Maurice Sendak, Edward Sorel, Steig’s daughter Maggie, and his last wife, Jeanne. Former New Yorker cartoon editor Lee Lorenz’s beautifully illustrated 1998 book The World of William Steig (Artisan) offers better biography, insight, and context.
This book, with some slightly different material, again surveys seven decades of Steig’s art and writing: early Bronx neighborhood gags, surreal psychological sketches, and children’s books. Steig’s work was sometimes mistaken for simplistic, but the 281 illustrations here actually reveal a sharp-eyed, Picasso-loving, funny, empathetic social observer. Jeanne Steig reveals insider details. Why are Steig’s drawings uniformly small? To fit on his cramped desk and for easy transport to the New Yorker. His last words? “Blue skies.”
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