is a man of
varied and paradoxical resources. Once a professional musician,
he can always join their union and get a job as a trumpet player
or drummer. As a kid, he passed an ice-cream factory to and from
school. With his characteristic capacity for absorbing detail
he learned the business so thoroughly that while playing the trumpet
at a mountain resort, during vacation, he was half owner and chief
mixer of a wholesale plant shipping several hundreds of gallons
daily. His business career was short-lived, though highly profitable.
He was determined to become a cartoonist, but the correspondence
school in which he enrolled was prosecuted for fraudulent use
of the mails. The next step was Chicago, three weeks at the Art
Institute, and a job on the Tribune as staff artist and expert
letterer. Lettering was nothing new to the boy who had made pocket
money in his grade-school days by painting signs for the local
butcher and baker to hang in their windows. As a staff artist,
seventeen hours, seven days a week, was his schedule for several
years. No hobbies except a model T Ford and a new ambition to
do serious magazine illustration possessed him. After a summer's
study with Harvey Dunn in Leonia, New Jersey, he wired Ray Long,
then editing the Red Book, to send him a manuscript. Jim
Flagg, "Brownie," and others wrote Long congratulating
him on the newcomer. Between 1915 and 1927 he painted a thousand
canvases. At thirty-five, he turned to mural painting. His first
job in the Los Angeles Public Library, which was completed after
six years of backbreaking work, is the largest executed by one
man since Michelangelo decorated the Sistine Chapel. Dean Cornwell
was born in Louisville, Kentucky, with a name the community respected
and a rebellious streak in his nature. His childhood was spent
avoiding school and otherwise trying zealously to live down his
name. Ironically enough each year of his life has added to the
prestige of this name he resented, a name peculiarly appropriate
for a Dean of American Illustration. Meanwhile, he keeps up a
lip on the trumpet just in case.
From Faces & Facts By and About 26 Contemporary Artists by Willis Birchman, Privately Printed, 1937
Essay copyright 1934 by Willis Birchman. Illustrations copyright by their respective owners. This page designed & © 2001 by Jim Vadeboncoeur, Jr. |