Rea Irvin
Rea Irvin (August 26, 1881 – May 28, 1972), was an American graphic artist and cartoonist. Although never formally credited as such, he served de facto as the first art editor of The New Yorker. He created the Eustace Tilley cover portrait and the New Yorker typeface. He first drew Tilley for the cover of the magazine's first issue on February 21, 1925. Tilley appeared annually on the magazine's cover every February until 1994.[1][2] As one commentator has written, "a truly modern bon vivant, Irvin was also a keen appreciator of the century of his birth. His high regard for both the careful artistry of the past and the gleam of the modern metropolis shines from the very first issue of the magazine ..."[3]
Rea Irvin
August 26, 1881
May 28, 1972 (aged 90)
Illustrator, graphic artist, cartoonist, art editor
Career at The New Yorker[edit]
However, Irvin had joined an advisory board to help launch The New Yorker and then worked on the magazine's staff as an illustrator and art editor. When he had first taken the job, Irvin had assumed that the magazine would fold after a few issues,[4] but his work would ultimately appear on the cover of 169 issues of The New Yorker between 1925 and 1958.[7]
The magazine's first cover, of a dandy peering at a butterfly through a monocle, was drawn by Irvin; the dandy replaced at the last minute a drawing of theater curtains revealing the skyline of Manhattan.[3] The gentleman on the original cover is referred to as "Eustace Tilley," a character created for The New Yorker by Corey Ford. Another example is the piece known as The Unity of the Allied Nations, which appeared on the cover of the July 1, 1944 issue, and depicts the national personifications of the Allies (the American Eagle, the Chinese Dragon, the Russian Bear and the British Lion).[7]
Besides covers for the magazine, Irvin also drew various illustrations, department headings, caricatures, and cartoons.[3]
The New Yorker signature display typeface, used for its nameplate and headlines and the masthead above The Talk of the Town section, is called "Irvin" or "Irvin type," after him.[8] An alphabet drawn by the American etcher Allen Lewis, who had received training in woodcutting in Paris, was used as the typographical basis for the "Irvin type."[3] Irvin may have spotted Lewis' lettering, which was drawn to imitate a woodcut, in a pamphlet entitled "Journeys To Bagdad", and liked it so much that Irvin asked Lewis to create the entire alphabet.[3] Uninterested in this project, Lewis suggested that Irvin create the alphabet himself –this became the "Irvin type."[3]
He also added the New Yorker's squiggly column rules; these provide a delineation between the text and illustrations.[7] He was also responsible for the vertical "cover strap" that was used for the magazine's margins.[3]
According to James Thurber, "the invaluable Irvin, artist, ex-actor, wit, and sophisticate about town and country, did more to develop the style and excellence of The New Yorker's drawings and covers than anyone else, and was the main and shining reason that the magazine's comic art in the first two years was far superior to its humorous prose."[9] Emily Gordon has written that "Irvin's own intimacy with classic form and craft, and his genial willingness to share that expertise ... allowed him to create a complete device: a design, a typeface, a style, and a mood that would be instantly recognizable, and eminently effective, almost a century later."[3]
Retirement[edit]
Six years before his death, Irvin and his wife retired to a home in Frederiksted, Saint Croix, U.S. Virgin Islands.[11] He died of a stroke there at age 90 on May 28, 1972.