Mary Petty, the mysterious cover artist, captures the decline of the rich

In the Pantheon New Yorker Artist, Mary Petty’s name is barely recorded. But during her time, she was one of a group of women – Helen E. Hokinson, Edna Eicke, Ilonka Karasz and Barbara Shermund, who contributed famous, beloved paintings and paintings to a magazine and then dominated by men to a large extent. Petty (1899-1976) married Alan Dunn, who was New Yorker. They spent almost their entire lives in a small floor apartment at 12 East Eighty-Eighth Street, Dunn worked on a drawing table in the living area and a small wooden board in the bedroom. Petty – When she was in high school at Horace Mann in the Bronx, she had no formal art training, and sometimes she was mentioned by Dunn, perhaps jokingly, was his “student”. But his first painting appeared for a year New Yorkerin 1926, she followed closely.

In addition to publishing 21 comics, Petty also contributes a series of thirty-eight vivid colors, grand details and perfect covers that never surpass their complexity, richness, their richness, and humanity for most people, at least in the view of this New Yorker cover artist. this era In Petty’s Prophet, they described them as “the picture of the bloodless nobles frozen in the pre-war world.” They’re more. Petty’s cartoon is undeniably funny, and I think it has had some impact on young Edward Gorey. But her cover opened up the world further. They are excellent watercolors of exquisite structures, decorated with the charm and details of a doll house. For small children, having sex with the children is just an excuse to enter the door. Her eyes are extraordinary, shocking the Edwardian era through its minimal features: wallpaper of stands, refined kitchen floors, thin brass faucets, plush interior decoration.