Matthew Schaefer Name Pose Shirt
Gorey fans, I can personally attest, are a devoted bunch; the few first editions I have squired away (including my favorite, 1965’s The Recently Deflowered Girl) are some of my most prized possessions. What’s particularly thrilling about these two new centennial exhibits is the opportunity to get a look at some of his lesser-known work, like those undergraduate sketches at Harvard and the countless illustrations Gorey churned out for other publications and authors, which is how he started his career (he designed book jackets for Anchor Books and Doubleday). It’s then, says Compton, that he began hand-lettering and honed his skill at distilling the essence of a novel into a single image without overpowering the text. “A voracious reader himself, Gorey could reference the classic, obscure, and modern all at once without sacrificing his collaborator’s voice,” says Compton. “His art and unique perspective could make any book or article instantly intriguing, adding a kind of gothic sophistication that invited readers in.”Matthew Schaefer Name Pose Shirt
An installation view of “Something Else Entirely: The Illustration Art of Edward Gorey” at the Society of Illustrators. To wit, in “Something Else Entirely” there’s a sprawling illustration of women in black, men collapsed at their feet and peering out cautiously from their bustle skirts for Helen Vendler’s review of Notable American Women in a 1972 issue of The New York Times Book Review; an eerie greyscale garden maze and rambling topiary for a 1984 cover of TWA’s Ambassador magazine; a teensy spot illustration of a man in a trench on the case for TV Guide to accompany a regular gossip feature that first appeared in 1988; and a grinning skeleton luxuriating with a book in a striped hammock while elegantly dressed guests at a garden party look on with concern for a 1995 summer reading campaign for Bantam Books. The last drawing Gorey published in his lifetime is also on display here: an assemblage of fashionably frocked women arranged around letters spelling “black” for a 2000 issue of The New Yorker listing an exhibition at the Fashion Institute of Technology titled “The Little Black Dress and Other Signs of Status.” On paper, many of these assignments wouldn’t necessarily appeal, but brought to life by Gorey’s pen, they are utterly captivating.
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