Uncovering the Working Class Illustrator

Part of my mission here on VIEW has always been to bring to light some of the period illustration that for one reason or another, did not survive the ages. Yes, it's there for us to dig up, but not all of it is as easy to find as Arthur Rackham and Maxfield Parrish. I like finding the "Illustrators that Time Forgot". Most of them did some great work—otherwise they wouldn't have gotten the job in the first place...

Today's subject falls squarely in that category. While he was never a big book illustrator —choosing to work primarily in magazines—that path certainly limited his visible longevity. The few books he did do had little staying power among their titles. Frederick C. Yohn (1875-1933) is a name I've been paging over for years, while I search through old volumes of Scribner's Magazines, Harpers, and Colliers. Yohn was incredibly prolific from about 1895-1920, usually tackling scenes of contemporary living, some light romance, or occasionally the modern war story. (His Spanish-American War works were in high demand at the end of the 1890s) Historic work was also to his liking, and he did many scenes of the Revolution as well. Originally from Indiana, Yohn went on to become of the founders of The Society of Illustrators in NYC.
His skill set, ease with contemporary settings as well as historic ones, and ability, must have made him a reliable work-horse to the publishers that used him.

Pictured here are a WWI poster, three magazine pieces, and a painting that hangs in the Utica Public Library, of General Herkimer at the Battle of Oriskany.

Anton Otto Fischer, 8 years at sea makes a better marine painter

There were a few illustrators to study under Howard Pyle in Delaware that specialized in marine work—meaning they painted a lot of ships and sea related imagery. A century ago ships were a much bigger presence in our lives, being the sole option for travel to Europe, and one to consider for travel almost anywhere from one coast to another. One of the finest marine painters to come through the Brandywine Valley was Anton Otto Fischer. (1880-1962) Fischer was German born, but came to America while in his twenties after spending almost eight years at sea. It was this kind of life experience that Pyle liked to see his students partake in, to give their pictures life, and authenticity. I'd bet it was a feature that Pyle would have embraced in Fischer. In 1910 Fischer caught a break by being paired up with Jack London, and for the next few years he often did work for London's stories.
During World War II Fischer served as an official war artist in the Coast Guard, aboard the cutter "Campbell". During a long career in illustration, Fischer worked for magazines such as Harper's Weekly, The Saturday Evening Post and Life, and was painting private commissions right up to the end.

Check the Post link above- it's a great gallery of some of Fischer's covers.
and there's a large slide show of Fischer work here, though accompanied by some music I can't seem to turn off...
and a great group at American Art Archives

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I got news today that my application for full membership to the Society of Illustrators has been accepted. This organization has a rich history from deep in the Golden Age, greatly related to the kind of imagery and work I present here on VIEW. Most of the American illustrators I present here were members of the Society, and it's nothing less than an honor to be carrying on their tradition.