back

BORIS ARTZYBASHEFF

MAIN MENU

 

FORTUNE ILLUSTRATIONS AND COVERS

JAPAN IN ASIA, 1941 APRIL cover
JESSE JONES, 1943 portrait
 
MY FIRST SCREEN

 

Diagrams for FORTUNE

LENDLEASE 1941
COSMOS OF THE UCC JUNE 1941
COSMOS OF THE UCC (DETAIL)
ECONOMIC MOBILSATION DECEMBER 1940
THE CORN KERNEL JUNE 1943
A PILOT'S BLACKOUT Sept 1940
US PUBLIC HEALTH SERVICE
AVIATION'S BACKLOG
WORLD'S AIRWAYS
CURE BY CHEMICALS SEPTEMBER 1939
THE AMERICAN ECONOMY 1941

Maps for FORTUNE

The Industrial South 1938, 29 x 35 cms
The Industrial South 29 x 35 cms (detail)
Japan in Asia August 1941
The Last of the Free Seas July 1940
The Last of the Free Seas detail
Chemical Valley September 1941
Chemical Valley (detail)
China's Main Roads are Rivers Dec 1940
World Airways March 1941

 

TIME COVERS (A SMALL SELECTION)

DAVE BRUBECK 1954
JACQUES COUSTEAU
LYNDON JOHNSON 1960
NIKITA KRUSCHEV 1956
 

 

AMATEUR PHOTOGRAPHER 1953
THE PENTAGON 1951
NEW PRODUCTS (DOUBLE PAGE) 1960
THE TELEPHONE MAN 1959
 

 

COVERS AND BOOK ILLUSTRATIONS

ORPHEUS MYTHS OF THE WORLD with Padraic Colum 1930
SEVEN SIMEONS 1937
THE GOLDEN BOOK (COVERS)
TONGUE TWISTER (PETER PARKER 1936)
DON QUIXOTE (FROM GENE BYRNE) 1939
AESOP, THE FOX AND THE GOAT (single)
FUNNY BONE ALLEY 1927
MECHANIX ILLUSTRATED December 1954

 

ADVERTISING

LYCOMING GALLERY
AJAX AND AERO PAPER CUPS
PARKER PENS GALLERY ONE
PARKER PENS GALLERY TWO
PARKER PENS GALLERY THREE
XEROX
AMERICAN EXPORT LINES C1938
TRAVELLERS' INSURANCE
PARKER PENS GALLERY ONE
SHELL X 100 MOTOR OIL May 1952
SHELL X 100 MOTOR OIL June 1951

 

'He Brings Machines to Life', Mechanix Illustrated December 1954
E.W.Watson, Forty Illustrators and How They Work, 1946
John R.Williams, "I Like Machines, Boris Artzybasheff's Machine Aesthetic",Special Issue of Interdisciplinary Humanities 23.1 (2007): 120-142. Much recommended and available for download as a PDF.
Boris Artzybasheff, As I See, originally, Dodd Mead 1954 now reprinted Titan 2008
His papers are held at Syracuse University.

 

 

 

 

Boris Artzybasheff (1899-1965) has gone through the critical understanding barrier. Much vaunted as the Neglected Surrealist of Mechanismo, he is neither neglected nor a Surrealist. His acid coloured Gremlins caused much fluttering among those who don't know what to say about pictures.

But he is more than that.

He is prolific and inventive and clever. When restricted to the protracted continuance of a type (Lycoming anthropomorphs) Oily Devils and poised hands holding Fountain Pens, etc etc he gets bored and bores. But mould these graphic skills into the precise communication of information, maps and diagrams, he is a master at visualising data and process - clear and immediate. I have lived with The Cosmos of the UCC framed on our wall here in Brighton since 2005, and it never fails to seize the attention. I have added other representative material, from a range of sources. His early work before 1930 repays study, very close to Antonio Petruccelli in the late Twenties. I asked Tony if they ever met. Sometimes in a corridor, in passing, he said regretfully.

 

 

 

 

back