Bernie Fuchs Busts a Move on Mid-Century Modernism

American illustration in the mid 20th Century is often referred to as the mid-century modern movement. From magazines and books to billboards, just about every publication imaginable was flourishing with overly glossy views of modern life (think Norman Rockwell and your there). As the century moved on, however, the print world was in desperate need of another view.

“Floundering publications sought salvation in acquiring a new image—anything different and in snyc with the times enough to retain the attention of a wavering public. These conditions produced a opportunity for the illustrator to be truly creative with a freedom from the past never before experienced”

—Illustrator Austin Briggs

In the 1950s American illustration began its great thaw from the ice age of representational, sentimental work that had dominated the first half of the 20th century.

Illustration’s old ways were fading fast, and the 1960s began a period of great spirit, creativity and change. No artist was closer to the center of that movement than Bernie Fuchs.

He began his career painting photo realistic illustrations of products and cars, but by 1960 he was at the forefront of a wave of experimental, high energy, impressionistic illustration that started a tidal wave of redefining the field.

“Getting the idea, that’s the hard part. I try to find the thing in the story-whether it is an incident, a portrait of a character, a symbol, or whatever-that I feel is most worth translating into a picture.”

In 1984 Illustration historian Walter Reed described Fuchs pictures as “probably more admired and imitated—than those of any other current illustrator.” His composition and simplified values and color made him well known around the world as he set the standard for modern illustration.

“The very first time I ever held out for something I believed in, I won. I turned in a rough for an advertisement, one I liked. The client give it back and suggested other ideas I might try. I didn’t like any of them—too corny. I didn’t know what else to do with the picture so I told them if they didn’t like my version, maybe they should get another artist. Then the client called me and said, you can do it your way. After the ad was published they had a big response to it. All of a sudden I was a hero. You give on both sides the try to take three steps forward and only two back. In some way you develop period.”

What gets you, though, is when they want you to do something like the things you did five years ago. They haven’t seen what you can do, or if they have they don’t want it. That’s your fight for survival. Each job you do has to be a little more exciting than your last. This is always in the back of your mind on every new job-to improve an experiment and be a little bit different than you were before.

— Bernie Fuchs