“No,” says Caren Ratcliffe, Arno’s niece. “A total original from no tradition in American cartooning,” says the artist Edward Sorel. Kuntze Arno Ingenieur u. Peter In that year’s Here again, Arno moves outside the magazine’s strictures, presenting art without caption, re-inventing the old full-paragraph caption (to parody the hot-type gossip rags of the day), and offering still more nudes. While Arno and his friends worked the receiving line in shifts, she stood there for hours, saying only of society that it made “my feet hurt.”Arno, Brenda Frazier, and Billy Livingston at New York’s La Conga, 1939‘Perhaps Peter Arno and his collaborators said everything there was to say about the boom days in New York that couldn’t be said by a jazz band,” wrote F. Scott Fitzgerald. By January 1940, Winchell had announced that Frazier and Arno had split up, and that “Mr.
“Our pathfinder artist,” editor Harold Ross called him, equal in Ross’s eyes to James Thurber and E. B. Now Arno’s father left him $20,000, a sliver of his $750,457 fortune. They drank together and once visited Polly Adler’s brothel, where—his defenders insist—Ross only read manuscripts. “The whole idea of By 1926—the same year that Tammany elevated Curtis Peters Sr. to the State Supreme Court—Arno was breaking out as the magazine’s first true star. For once, an older man reached out to tell him he was valued, not embarrassing. “Far and away, the best magazine cartoonist ever,” says Hugh Hefner, who courted Arno in the 1950s in hopes that the artist would help establish In the 1920s, Arno jolted the cartooning world with his deceptively casual, “slapdash” style (it often required multiple revisions to achieve), and his single-line dialogue caption—“the overheard remark,” as Benchley called it. “It wasn’t an easy house to grow up in,” says Arno’s daughter, Pat Arno. Was he now his own Walrus? That evening, he was referred to not by his pen name—Peter Arno—but rather the one by which the city’s social and political elite knew him, dating back to his days at Hotchkiss and Yale—Curtis “Curt” Arnoux Peters Jr., son of the late New York Supreme Court justice.At 34, Arno was handsome, elegant, and famous, *The New Yorker’*s star artist since its founding, in 1925. Few saw him, and in his last years, doctors put him on an oxygen tank. Matthews chided his rough drawing and found his moral neutrality “unsettling” and “disturbing.” Benchley did not exaggerate when he called Arno a revolution. In April he introduced the Whoops Sisters, his answer to the Gibson Girls.
Heißt Du selber Peter Arno oder kennst jemanden, der diesen Namen trägt?
If Arno had fears of self-parody, Rudy Vallee confirmed them. He submitted drawings to In 1924’s cartooning world, Arno was a misfit.
Arno, most likely, was not there to draw. Five nights earlier, Arno the satirist and his friends—publisher Condé Nast and George Balanchine among them—held a well-publicized debut at the nightclub Chez Firehouse for Miss Wilma Baard. “He was spanked if he asked for seconds at dinner.”That is, when Arno was home.
(She would later marry E. B. “I was a little sore about it at the time,” Arno jotted in his memoir notes. He soon got involved with Mrs. Vanderbilt, who, however, was living in Nevada with her husband and was not known to be seeking a divorce.
Compared with newspaper “funnies,” where dialogue and imagery combine into a punchy little movie, pre-Arno magazine cartoons were still lifes. The tabloid press was banned, naturally, so six Photographers snapped intimate shots of Frazier and her reassuring, older suitor. He contributed cartoons and 99 covers to The New Yorker from 1925, the magazine's first year, until 1968, the year of his death.
Peter Arno (nee Curtis Arnoux Peters Jr.; January 8, 1904 – February 22, 1968) drew mostly for The New Yorker (he joined in 1929), spanning five decades until his death in 1968, notes Al Q on Flickr.Although many are definitely of their era, most have … Eventually I was.”His Yale days prematurely over, Arno joined shimmy queen Gilda Gray’s band at her club, Picadilly Rendezvous (when it wasn’t padlocked by Prohibition agents).
“And I never said I would.”The fracas set the tone in the 1930s for Arno, who is, bar none, the most tabloid-friendly cartoonist America has ever known. And the men with whom he tussled were almost exclusively old-money scions—Vanderbilt, Drexel Biddle Steel at the Embassy Club in Hollywood, and President Roosevelt’s son Franklin junior at La Conga.
When my mother told me Uncle Peter was on an oxygen tank, I couldn’t imagine it.”Arno’s mother died on January 31, 1968, at age 87. With a sexually charged wit (which he came by naturally, as one of the era’s notable roués) and the most innovative graphic mind in magazine cartooning, he resuscitated the single-panel cartoon as it was about to go the way of vaudeville and the silent movie.
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