Prefeminist Artist Of The Month
Prefeminist Artist of the Month: Rudy Nappi!
I’ve gotten a truly staggering number of requests to post some of the pictures from the location in a extra straight-ahead manner, and i determine the best solution to do that is without slicing a lot into my writing time is to profile one artist, style, or theme from the Prefeminist Interval at a time. Be happy to request a specific artist or theme at any time.
The Prefeminist Artist of the Month for January 2013 is . . . Rudy Nappi! Mr. Nappi (1923-) is still working, to my knowledge, and does a fair number of Nancy Drew and Hardy Boys conventions. He is one of the prolific of all the great pulp artists, and you have probably seen hundreds of his photos without even realizing it.
Amongst different impressive credit, Rudy Nappi enjoyed success as the artist behind Nancy Drew throughout the character’s early years. From Wikipedia:
Rudy Nappi, the artist from 1953 to 1979, illustrates a more common teenager. Nappi was requested by Grosset & Dunlap’s artwork director to update Nancy’s appearance, especially her wardrobe. Nappi gave Nancy Peter Pan collars, shirtwaist dresses, a pageboy, (later a flip haircut), and the occasional pair of denims. Nancy’s hair color was modified from blonde to strawberry-blond, reddish-blond or titian by the tip of the decade. The change, resulting from a printing ink error, was thought of so favorable that it was adopted in the textual content.
In 1962, all Grosset & Dunlap books grow to be “image covers”, books with artwork and advertising printed straight on their covers, versus books with a dust jacket over a tweed quantity. The change was to reduce manufacturing prices. Several of the thirties and 1940s cover illustrations had been up to date by Rudy Nappi for this modification, depicting a Nancy of the Kennedy era, although the stories themselves were not updated. Inside illustrations, which have been dropped in 1937, were returned to the books starting in 1954, as pen and ink line drawings, principally by uncredited artists, however often corresponding with Nappi’s model of drawing Nancy on the covers. Nappi adopted trends initiated by Gillies and often illustrated Nancy wearing the identical clothes more than as soon as, together with a mustard shirtwaist costume.
Unlike Tandy, Nappi didn’t read the books earlier than illustrating them; as an alternative, his wife learn them and provided him with a brief plot summary earlier than Nappi started painting. Nappi’s first cover was for The Clue of the Velvet Mask, the place he began a pattern of portraying Nancy as “bobby-soxer .. a contemporary sixteen-yr-old. This Nancy was perky, clean-minimize, and very animated. In the majority of his covers hairstyles with brazilian weave Nancy looks startled – which, little question, she was.”
Nancy’s type is significantly conservative, and stays so through the psychedelic interval. Although she wears daring colors and prints, or the background colors are shades of electric yellow, shocking pink, turquoise, or apple green, her clothing is high-necked and with lengthy hemlines. Earlier Nappi covers show Nancy in poses just like those within the covers by Tandy and Gillies; for many updated covers he simply up to date the coloration scheme, clothing type, and hairstyles of the characters but retains their authentic poses in related settings. Later Nappi covers show solely Nancy’s head or a part of her body, surrounded by spooky or startling elements or clues from the story. These Nappi covers would later be used for the opening credit of the television manufacturing, with photos of Pamela Sue Martin inserted on the ebook covers.
But that is not all. Rudy also did those stalwarts of American masculinity, the Hardy Boys.
Rudy Nappi (US)
Over a period from the 1950s via to the late 1970s, Rudy Nappi was the principal cowl artist for the US Hardy Boys and Nancy Drew collection, growing in the method what is usually regarded to be the definitive and most recognizable portrayals of all three characters. As one would anticipate, a healthy choice of artwork from Nappi‘s portfolio was employed by the British publishers, beginning with Sampson Low, who used 14 of his cowl illustrations.
What we love him best for, nonetheless, has to be his lurid 1950s smutty pulp covers.