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Pulp Art: Original Cover Paintings for the Great American Pulp Magazines
The first book to feature the original paintings created for American pulp magazine covers, this unique reference offers an authoritative text, historical surveys, vintage letters, 125 full-page images, and much more.
182 pages, Hardcover
First published January 1, 1997
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Displaying 1 - 12 of 12 reviews
December 29, 2018
First off, let me say that there is a lot to like in this collection. Out of 182 pages, there are 56 full page reproductions of original art that came from the pulp magazines. At 12 x 9 1/2 inches, and with quality, heavy paper stock, these reproductions are probably worth the cost of the book alone. There are also 64 other illustrations (give or take) that are smaller reproductions of original art, pulp magazine cover reproductions, or other examples (book jackets mostly) of a particular artist's work. These range from a quarter to (rarely) three-quarters of a page - splitting the difference, they come to an estimated 32 more pages of art. Together, that makes 88 things I really, really liked about this book. Many of these reproductions are just gorgeous.
The 100 or so remaining pages are filled with text; and regardless of one's previous knowledge of or interest in the pulp magazine era, that's entirely too much verbiage in a book dedicated to a visual medium. This is true even if that verbiage was highly informative, entertaining or both. I respect Mr. Lesser for his dedication to this material, but I think this material speaks for itself. Add to that there are essays interspersed throughout the book written by other collectors, or those who knew the artists personally, which repeats much of the same information in the main text, and you get a criminal waste of great paper stock that would have been much better put to use by reproducing more full-page examples. The five chapters could have been condensed into one introductory piece perhaps ten pages long or so, and the remaining essays could have been inserted inside the genre groupings of the paintings. As it is, these minor essays are plopped directly in the middle of the different chapters, causing the reader to either interrupt reading the main text, or skip the essay and flip back and forth later on, in order to read all the material.
It could be that the paucity of this material forced the publishers to limit the full page examples. (Many of the smaller inserts are not reproduced from the original, but from the printed cover.) I could understand that, but I would just as well have seen a section reproducing the originals, along with supplemental material that might only reproduce distinctive pulp covers whose originals are lost. And, while I think the author rightly focuses on the most dramatic examples of this art, I also wouldn't have minded seeing a few reproductions (if they exist) of the romance, sports, or the train story pulps, or of some of the other, less sensational magazines, many of which were still extraordinary.
I suppose I shouldn't complain - what is here is excellent. It is a nice supplement to someone's collection of pulp magazines, or of other coffee table books concerning 20th Century Illustrative Art. The shame of it is that it has so much wasted potential.
The 100 or so remaining pages are filled with text; and regardless of one's previous knowledge of or interest in the pulp magazine era, that's entirely too much verbiage in a book dedicated to a visual medium. This is true even if that verbiage was highly informative, entertaining or both. I respect Mr. Lesser for his dedication to this material, but I think this material speaks for itself. Add to that there are essays interspersed throughout the book written by other collectors, or those who knew the artists personally, which repeats much of the same information in the main text, and you get a criminal waste of great paper stock that would have been much better put to use by reproducing more full-page examples. The five chapters could have been condensed into one introductory piece perhaps ten pages long or so, and the remaining essays could have been inserted inside the genre groupings of the paintings. As it is, these minor essays are plopped directly in the middle of the different chapters, causing the reader to either interrupt reading the main text, or skip the essay and flip back and forth later on, in order to read all the material.
It could be that the paucity of this material forced the publishers to limit the full page examples. (Many of the smaller inserts are not reproduced from the original, but from the printed cover.) I could understand that, but I would just as well have seen a section reproducing the originals, along with supplemental material that might only reproduce distinctive pulp covers whose originals are lost. And, while I think the author rightly focuses on the most dramatic examples of this art, I also wouldn't have minded seeing a few reproductions (if they exist) of the romance, sports, or the train story pulps, or of some of the other, less sensational magazines, many of which were still extraordinary.
I suppose I shouldn't complain - what is here is excellent. It is a nice supplement to someone's collection of pulp magazines, or of other coffee table books concerning 20th Century Illustrative Art. The shame of it is that it has so much wasted potential.
August 26, 2009
If you're a fan of dramatic art, ripping fast cars packed to the gunwales with gleaming blue steel and gleamier women, get this book. As a feminist, I hate it. As an artist, I'm an addict.
This is why I have a therapist. Go get your own.
The dedication:
"What do I ask of a painting? I ask it to astonish, disturb, seduce, convince." ~ Lucien Freud.
This is NOT your mother's Freud.
This is why I have a therapist. Go get your own.
The dedication:
"What do I ask of a painting? I ask it to astonish, disturb, seduce, convince." ~ Lucien Freud.
This is NOT your mother's Freud.
March 2, 2021
Probably the saddest thing mentioned in this book is that so much (a vast majority) of the artwork used on the covers and inside the pulp magazines was destroyed, as it was considered cheap. But there was beauty and sexuality in this work, and a ton of skill in catching the eye and making consumers of the pulps reach for their wallets. There is a nice collection of plates to enjoy in the book, as well as decent articles and sidebars or personal remembrances. Overall an interesting look at these colorful additions to our culture. It might not be high art, but it was definitely fun art.
Want to read
December 30, 2009I was in Barnes and Noble today and happened to come across this awesome looking book . . . and it was on sale! The art that I glimpsed at looks fantastical and amazing, making want to know what the fiction was like that went along with these covers. Look forward to reading and enjoying this book!
September 21, 2010
A wonderful tour through some of the most lurid art ever created. It is odd to focus on it as if it were museum quality work and much more commentary would have been welcome, but the reproductions are worth studying on their own.
January 30, 2016
I am a huge fan of the pulps. This is a great book for me and other pulp fans. Fantastic selection of cover art from this literary genre. Very recommended
November 2, 2020
Loved this book. I missed out on this era but caught the next wave of paperbacks. I wish there was a book about the Gothic Romance cover art. Now that would be really great.
March 27, 2025
Pg 28, 32, 44, 58, 59, 70, 96, 101, 130, 155.
September 28, 2013
DARE TO BE WILD--TOO MUCH IS NEVER ENOUGH!
If you are a fan of the Pulps—particularly their dazzling, somewhat shocking cover art—this is the ultimate coffee table book for you! With its oversized, slick pages, many full-page color illustrations, and articles by 18 contributing writers (including some descendants of the artists) this edition is a welcome yet scholarly validation of a special era in US literary history: from the early 1900’s through the late 1940’s.
The Introduction to this presentation of Populist Culture and Pulp Art offers three essays. Then the “chapters” are organized logically into several sections—each offering three essays:
• Sci Fi, Science Fact and Fantasy
• New Knights
• The Noblest Savage (Tarzan—who else!) with many covers from the
the Burroughs Collection
• Ladies in Terror
• To Dare the Devil: Aviation, War and Western Art
Three Appendices offer: Letters to Pulp Editors 1929-1946 (including one from Ray Bradbury), A Collector’s Guide with advice to beginners and some Artists’ Bios.
Many iconic comic book characters are depicted: The Shadow, Doc Savage, and a Chinese Evil Genius. Famous artists include: Nick Eggenhofer, Norman Saunders, Eric Rozen, Virgil Finlay, Norman Rockwell and the great illustrator, N.C, Wyeth. I'd like to point out the shocking painting by H. Winfield Scott, which shows a San Francisco POW camp for women, run by brutish Japanese soldiers—warning: What if Japan Attacked?--as early as February of 1941! “Scotty,” a pulp artist whom I met as a teenager and who painted a cover for The Avenger, recognized the threat that early. In fact his painting sparked an international controversy as an outraged Japanese ambassador stormed the White House!
Since the Pulps did not pay much they proved a fertile testing ground for new artists. As deadlines always loomed the covers were often referred to as “Slapdash Art”—necessarily created in unrealistic editorial rush. Before the comics there were the wonderful, amazing Pulps, whose covers of Cowboys and Indians, Buccaneers, Cave Men, weird alien beings, ghosts and ghouls, half naked women, depraved criminals and suspicious detectives proclaimed the manly adventures awaiting between the pages. Besides bold adventure and wild Fantasy the artists also depicted scenes of actual historical impact: dogfights and ship sinking—even the Battle of Midway.
Underrated as too populist to be considered “professional” Pulp Art “dared to be wild, and too much was never enough!” p. 104). Nevertheless, Pulp Art proudly contributed to the cultural, social, political and economic history of America. An historical treasure in its own right, this definitive and scholarly examination of a uniquely American style of art proclaims the proud marriage of pop lit and Yankee art.
(September 28, 2013.)
If you are a fan of the Pulps—particularly their dazzling, somewhat shocking cover art—this is the ultimate coffee table book for you! With its oversized, slick pages, many full-page color illustrations, and articles by 18 contributing writers (including some descendants of the artists) this edition is a welcome yet scholarly validation of a special era in US literary history: from the early 1900’s through the late 1940’s.
The Introduction to this presentation of Populist Culture and Pulp Art offers three essays. Then the “chapters” are organized logically into several sections—each offering three essays:
• Sci Fi, Science Fact and Fantasy
• New Knights
• The Noblest Savage (Tarzan—who else!) with many covers from the
the Burroughs Collection
• Ladies in Terror
• To Dare the Devil: Aviation, War and Western Art
Three Appendices offer: Letters to Pulp Editors 1929-1946 (including one from Ray Bradbury), A Collector’s Guide with advice to beginners and some Artists’ Bios.
Many iconic comic book characters are depicted: The Shadow, Doc Savage, and a Chinese Evil Genius. Famous artists include: Nick Eggenhofer, Norman Saunders, Eric Rozen, Virgil Finlay, Norman Rockwell and the great illustrator, N.C, Wyeth. I'd like to point out the shocking painting by H. Winfield Scott, which shows a San Francisco POW camp for women, run by brutish Japanese soldiers—warning: What if Japan Attacked?--as early as February of 1941! “Scotty,” a pulp artist whom I met as a teenager and who painted a cover for The Avenger, recognized the threat that early. In fact his painting sparked an international controversy as an outraged Japanese ambassador stormed the White House!
Since the Pulps did not pay much they proved a fertile testing ground for new artists. As deadlines always loomed the covers were often referred to as “Slapdash Art”—necessarily created in unrealistic editorial rush. Before the comics there were the wonderful, amazing Pulps, whose covers of Cowboys and Indians, Buccaneers, Cave Men, weird alien beings, ghosts and ghouls, half naked women, depraved criminals and suspicious detectives proclaimed the manly adventures awaiting between the pages. Besides bold adventure and wild Fantasy the artists also depicted scenes of actual historical impact: dogfights and ship sinking—even the Battle of Midway.
Underrated as too populist to be considered “professional” Pulp Art “dared to be wild, and too much was never enough!” p. 104). Nevertheless, Pulp Art proudly contributed to the cultural, social, political and economic history of America. An historical treasure in its own right, this definitive and scholarly examination of a uniquely American style of art proclaims the proud marriage of pop lit and Yankee art.
(September 28, 2013.)
April 9, 2012
One of the best books available on pulp art.
April 20, 2014
a short study of the covers and artists who worked on the pulp magazines in the 30's and 40's. Some new detail but a video special done some years ago was better.
August 4, 2015
Great graphics and a detailed account of the great pulp artists of the 20th century. Really cool!
Displaying 1 - 12 of 12 reviews