January First: Happy New Year!

Jessie Willcox Smith

During the latter part of the 19th century, when printing technology allowed magazines to begin producing full color covers, there began an era known as The Golden Age of Illustration. Probably one of the more famous artists who came from that era was Joseph Christian Leyendecker.

https://schristywolfe.com/2018/01/01/january-first-happy-new-year-3/

Among his 400+ magazine covers are the Baby New Years he painted for The Saturday Evening Post from 1906 to 1943. However, there were lots of other magazines who would devote their New Year covers to Baby New Year — or, at any rate, a baby of some sort.
Not all of the covers shared here are from the Golden Age of Illustration, which is generally described as lasting from the 1880s to the 1920s. But there’s plenty of fine illustrators to be found: Walter Beach Humphrey, Rea Irvin, Jessie Willcox Smith, Vernon Thomas, Charles Twelvetrees, and more.

  1. The Country Gentleman, January 1, 1921 by Walter Beach Humphrey
  2. Good Housekeeping, January 1925, by Jessie Willcox Smith
  3. Child Life, January 1928, by Hazel Frazee
  4. Good Housekeeping, January 1929, by Jessie Willcox Smith
  5. The Farmer’s Wife, January 1930 (could not find this artist)
  6. Good Housekeeping, January 1932, by Jessie Willcox Smith
  7. Collier’s, January 2, 1932 by Charles Twelvetrees
  8. The New Yorker, January 2, 1932, by Rea Irvin
  9. Good Housekeeping, January 1933, by Jessie Willcox Smith
  10. Collier’s, January 6, 1934 by Charles Twelvetrees
  11. Good Housekeeping, January 1935, by Vernon Thomas
  12. Good Housekeeping, January 1936, by Vernon Thomas
  13. Good Housekeeping, January 1937, by Horace C. Gaffron
  14. The Farmer’s Wife, January 1938, by R. James Stuart
  15. The New Yorker, December 1938, by Rea Irvin

Click on pictures to enlarge and scroll through them:

C

January 1~ Happy New Year!

New Year’s Baby by Joseph Christian Leyendecker

1920 / Oil on canvas / 28”x21” / Private collection
Cover art for The Saturday Evening Post, January 3, 1920

[There are four embedded links above]

Previous January 1 posts:
January First 2018: Happy New Year!
January First 2017: Happy New Year!
January First 2016: Happy New Year!
The Four Seasons: Winter
Winter~ January 1

January 1~

December 26, 2019~ The day after Christmas (Boxing Day)

The Day after Christmas by Mark Lancelot Symons

c.1931 / Oil on canvas on board / 35 4/5”x26 3/4” / Bury Art Museum & Sculpture Centre, Bury, UK

[There are three embedded links above]

The Day of the Wren: The Question of Boxing Day~
http://ultimatehistoryproject.com/boxing-day.html

Previous December 26 posts:

December 26~ Animals in Art

December 26~

January First: Happy New Year!

Link~ J.C. Leyendecker, Father of the New Year’s Baby

“Joseph Christian Leyendecker wasn’t the first artist to use an infant to represent the new year. But over the span of 36 years, he made the New Year’s baby as familiar to Americans as Father Time.

A consummate illustrator — and mentor to Norman Rockwell — Leyendecker was continually searching for better ways to depict the holidays. He created many fanciful covers that caught the spirit of Christmas, Fourth of July, Easter, and Thanksgiving. But the New Year’s babies are arguably his most memorable.

His first baby was delivered for the December 29, 1906, issue of the Post. It shows a cherub atop a globe, turning over a fresh page in a book of New Year’s resolutions. The series continue without interruption until 1943…”
http://www.saturdayeveningpost.com/2014/12/31/art-entertainment/art-and-artists/new-years-babies.html

The United States of America: Born July 4, 1776

painting

This painting depicts the moment on June 28, 1776, when the first draft of the Declaration of Independence was presented to the Second Continental Congress.

This is the first completed painting of four Revolutionary-era scenes that the U.S. Congress commissioned from John Trumbull (1756–1843) in 1817. It is an enlarged version of a smaller painting (approximately 21 inches by 31 inches) that the artist had created as part of a series to document the events of the American revolution.

When Trumbull was planning the smaller painting in 1786, he decided not to attempt a wholly accurate rendering of the scene; rather, he made his goal the preservation of the images of the Nation’s founders. He excluded those for whom no authoritative image could be found or created, and he included delegates who were not in attendance at the time of the event. In all, 47 individuals (42 of the 56 signers and 5 other patriots) are depicted, all painted from life or life portraits. Some of the room’s architectural features (e.g., the number and placement of doors and windows) differ from historical fact, having been based on an inaccurate sketch that Thomas Jefferson produced from memory in Paris. Trumbull also painted more elegant furniture, covered the windows with heavy draperies rather than venetian blinds, and decorated the room’s rear wall with captured British military flags, believing that such trophies were probably displayed there.
http://www.aoc.gov/capitol-hill/historic-rotunda-paintings/declaration-independence