Sleeping Farmer

This landscape from 1947 was about as sentimental as artist John Atherton got. Most of his 47 Saturday Evening Post covers were still life studies, or a factory, a grain elevator, etc. He detested human-interest or sentimental covers.

Once he asked his friend Norman Rockwell what he was working on. “Oh, you don’t want to know, Jack,” Rockwell replied. Atherton insisted until a very reluctant Rockwell spilled the sappy details of a painting for a Boy Scout calendar where the boys are looking reverently at a cloudy image of George Washington praying. “Jack grunted horribly and grabbed at his back, twisting about in his chair as if he’d been stabbed,” Rockwell recalled. “But Jack was deeply loyal. If anyone else disparaged my work, he’d light into them.” Atherton knew what he was good at and that nobody was better than Rockwell at what he did.

Surveying the Cow Pasture

It is intimidating to have several large beasts staring at you while you work. Fortunately, despite their full-sized figures, they tend to be gentle animals. The surveyor’s biggest fear should be stepping in a cow pie.

Artist Amos Sewell illustrated 45 Saturday Evening Post covers, and well over a hundred fictional stories within the magazine.

Yakima River Cattle Roundup

“When I got into my early teens, like all boys, I got to wondering what in the world could I do to make a living and live in the mountains? One day I got to thinking about it and thought, That’s it! I’ll paint pictures and then I can live wherever I want to live,” said John Clymer. Where he lived as a boy was not far from this view of the Yakima River in Washington.

For 20 years, from 1942 to 1962, Clymer illustrated nearly 90 Post covers, most of them scenic and many, like this one from 1958, pretty enough to momentarily take your breath away. He and his father did not round up cattle as we see here, but editors inform us that they did fish the Yakima “for trout and, furthermore, caught some.”

Slow Mooving Traffic

Well, this is disruptive. One might say—all together now—udder chaos. Artist Ben Prins got the idea for this illustration, which was his first Post cover, because he had been in a similar situation where he “performed heroically as one of the toreadors,” claimed Post editors.

Little Cowboy Takes a Licking

The little cowpoke is certainly dressed for the part, but we wonder if he will ever be a hardcore ranch hand. This 1938 cover was by our most prolific artist, J.C. Leyendecker. He illustrated Post covers over a remarkable time span, from 1899 to 1943, often sumptuous and elaborate art of elegant ladies or gentlemen. So it comes as a delightful surprise when we find the artist’s humorous side.

Shoo the Moos

Before dragging grandma and baby through the barbed-wire fence, dad might want to wait and see if the cows will cooperate and vacate this ideal picnic spot (click on the artwork for a larger image).

Post editors noted that the bovines were not all that obliging when artist Stevan Dohanos was painting this 1950 cover. A cow aimed north by the local dairyman would stubbornly decide to go east or west. And as we can see, the white cow seems disinclined to move at all. This cover was painted in Westport, Connecticut, at the “Blue Ribbon Dairy Farm and Cow-Posing Academy.”

“Practice Proposal” by Frederic Stanley

It all begins here. Artist Frederic Stanley (1892-1967) was great with facial expressions. Nice detail on the floral chair upon which sits a photo of his beloved and the ring at the ready. Like Rockwell, Frederic Stanley used locals for his models: Vermont clerks, housewives, schoolchildren. Between 1921 and 1935, Stanley illustrated 17 Post covers. The “Practice Proposal” is from 1927.

“Icing the Wedding Cake” by Stevan Dohanos

If you’re studied the art of Stevan Dohanos, you know he was all about realism. For this 1945 cover, he enlisted the help of a baker in Westport, Connecticut, one Mr. Gus Volkening. The star baker produced this ornate delicacy for our artist to paint. What does an artist do with such a prop once the painting is complete? Well, normally, he would just eat it, but this was just too lavish. So Dohanos called the marriage license bureau and found that a certain Private Stall was due to wed his sweetheart, Lucia, so the happy couple was even happier to receive a wedding cake so beautiful it appeared on the cover of The Saturday Evening Post.

“Wedding March” by Norman Rockwell

One of Norman Rockwell’s most ubiquitous models, James K. Van Brundt makes a charming organist in this 1928 cover. “The day he showed up at my studio,” said the artist, “was one of the luckiest days of my life. ’James K. Van Brunt, sir,’ he said saluting me and bowing all at once. ‘Five feet two inches tall, sir. The exact height of Napoleon Bonaparte.’” Rockwell adored that mustache. “Eight full inches wide from tip to tip,” the little man boasted. “The ladies, Sir, Make much of it.” Rockwell painted him as a hobo, a colonial sign painter, a sentimental cowboy listening to old records and even as gossiping old maids.

“Patient Groom” by E.M. Jackson

It’s nice to see the emphasis on the handsome groom in this 1928 cover by E.M. Jackson. Jackson’s nearly 50 Saturday Evening Post covers showed influences from prominent artists of the time. Some of his work was very much like that of Norman Rockwell, and several of his covers, like our groom here, resembled the lavish and elegant detail of J.C. Leyendecker.

“There Goes the Bride” by Alan Foster

Of the dozens of covers depicting weddings, this has to be the most unusual. The focus is on the delighted faces of the guests. The bride, except for a bit of her train, is left to the imagination of the viewer, but from the expressions of the observers here, she must be beautiful indeed. And what of the groom? We see only a shoe with spat, and a bit of striped pants leg.

The artist, Alan Foster, did over 30 light-hearted Post covers, several of which we will see in an upcoming feature, “The Fun Covers of Alan Foster.”

“Wedding Reception” by Ben Kimberly Prins

One can only imagine the work that went into an illustration like this by Holland-born artist Ben Prins (1902-1980). The locale was a Vermont country club, and the guests were “borrowed” from a local wedding. All were happy to cooperate with the artist, and by the time this cover appeared on newsstands, the bride and groom were back to real life; he working in a bank and she as an assistant librarian.

Alas, this is one of the last covers painted by our wonderful stable of illustrators, as photographs of everyone from models to world leaders took over in the 60s.