DATE OF THIS ** ORIGINAL ** ITEM: 1924 Arthur Henry Young (January 14, 1866 – December 29, 1943) was an American cartoonist and writer. He is best known for his socialist cartoons, especially those drawn for the left-wing political magazine The Masses between 1911 and 1917. Art Young was born January 14, 1866, near Orangeville, in Stephenson County, Illinois. His family moved to Monroe, Wisconsin when he was a year old. His father, Daniel S. Young, was a grocer there; his mother was Amanda Young (née Wagner). He had two brothers and one sister. His brother, Wilmer Wesley Young, studied journalism at the University of Wisconsin and founded its student newspaper, The Daily Cardinal. Young enrolled in the Chicago Academy of Design in 1884, where he studied under J. H. Vanderpoel. His first published cartoon appeared the same year in the trade paper Nimble Nickel. Also that year, he began working for a succession of Chicago newspapers including the Evening Mail, the Daily News, and the Tribune. In 1888, Young resumed his studies, first at the Art Students League of New York (until 1889), then at the Académie Julian in Paris (1889–90). Following a long convalescence, he joined the Chicago Inter-Ocean (1892), to which he contributed political cartoons and drawings for its Sunday color supplement. In 1895 he married Elizabeth North. In 1895 or 1896, he worked briefly for the Denver Times; then, after his separation with North, moved again to New York City, where he sold drawings to the humor magazines Puck, Life, and Judge, and drew cartoons for William Randolph Hearst's New York Evening Journal and Sunday New York American. From 1902 to 1906, he studied rhetoric at Cooper Union to improve his skills as a cartoonist. Young started out as a generally apolitical Republican, but gradually became interested in left wing ideas, and by 1906 or so considered himself a socialist. He began to associate with such political leftists as John Sloan and Piet Vlag, with both of whom he would work at the radical socialist monthly The Masses. He became firmly ensconced in the radical environment of Greenwich Village after moving there in 1910. He became politically active, and by 1910, racial and sexual discrimination and the supposed injustices of the capitalist system became prevalent themes in his work. He explained these sentiments in his autobiography, Art Young: His Life and Times (1939): In an attempt to curb this ‘abuse’, Young ran for the New York State Assembly on the ticket of the Socialist Party of New York City (Part of the Socialist Party of America, SPUSA) in 1913, and was unsuccessful. One facet of the establishment Young challenged in his cartoons and drawings was the Associated Press. His attacks became overt and damning once he joined the staff of the Masses as a co-editor and contributor, which he held from 1911 to 1918. He was one of the few original editorial members that stayed with the magazine for its entire run until it folded in December 1917. In July 1913, it published Young's cartoon "Poisoned at the Source", depicting the AP's president, Frank B. Noyes, poisoning a well labeled "The News" with lies, suppressed facts, slander, and prejudice. The cartoon was the papers explanation for the lack of national news coverage on the Paint Creek–Cabin Creek strike of 1912 in Kanawha County, West Virginia which lasted more than a year, and was characterized by deadly clashes between armed and striking miners and militia hired to defend the coal companies. The companies successfully petitioned the Federal government to declare martial law under a military tribunal, an egregious act according to the editors of the Masses. That little had been heard of these occurrences outside of West Virginia troubled the magazine's staff. Young's cartoon and Max Eastman's editorial, published in the same issue, claimed the AP willfully suppressed the facts to aid the coal companies. The AP responded to this with two suits of libel against Eastman and Young in November 1913 and January 1914. When Young and Eastman's attorney subpoenaed the records of the AP's Pittsburgh office, the suits were dropped; the paper said because AP feared the evidence and testimony would be damaging if they became public. In 1918 Young helped to establish a similar publication to the Masses, the Liberator. He also served as an illustrator and Washington correspondent for Metropolitan Magazine (1912–1917) until it released him due to his outspoken anti-war sentiments. In 1918, he again ran unsuccessfully for public office on the Socialist ticket, this time for the New York State Senate. Unhappy with how editors Max and Crystal Eastman and other staff members were able to live off of the struggling magazine, while he received a nominal fee or worked pro bono, Young left The Liberator in 1919 to start a magazine of his own, Good Morning. It was later absorbed by the Art Young Quarterly in 1922. Young also contributed illustrations to The Nation, The Saturday Evening Post and Collier's Weekly, The New Leader, New Masses, The Coming Nation, Dawn, The Call, The New Yorker (after 1930), and Big Stick. He wrote many books, including two autobiographies, On My Way (1928) and Art Young: His Life and Times (1939). Of special note are his series of drawings depicting Hell, published in The Cosmopolitan and in several books, including Through Hell With Hiprah Hunt, available at Google Books. He issued a collection of his drawings, The Best of Art Young, in 1936. Life was published independently for its first 53 years until 1936 as a general-interest and light entertainment magazine, heavy on illustrations, jokes, and social commentary. It featured some of the most important writers, editors, illustrators and cartoonists of its time: Charles Dana Gibson, Norman Rockwell and Jacob Hartman Jr. Gibson became the editor and owner of the magazine after John Ames Mitchell died in 1918. During its later years, the magazine offered brief capsule reviews (similar to those in The New Yorker) of plays and movies running in New York City, but with the innovative touch of a colored typographic bullet resembling a traffic light, appended to each review: green for a positive review, red for a negative one, and amber for mixed notices. In 1936, Time publisher Henry Luce bought Life solely for its title, and greatly redesigned the publication. LIFE (stylized in all caps) became the first all-photographic American news magazine, and it dominated the market for several decades, with a circulation peaking at over 13.5 million copies a week. One striking image published in the magazine was Alfred Eisenstaedt's photograph of a nurse in a sailor's arms, taken on August 14, 1945, during a VJ-Day celebration in New York's Times Square. The magazine's role in the history of photojournalism is considered its most important contribution to publishing. Its prestige attracted the memoirs of President Harry S. Truman, Prime Minister Winston Churchill, and General Douglas MacArthur, all serialized in its pages. After 2000, Time Inc. continued to use the Life brand for special and commemorative issues. Life returned to regularly scheduled issues as a weekly newspaper supplement from 2004 to 2007. The website life.com, originally one of the channels on Time Inc.'s Pathfinder service, was for a time in the late 2000s managed as a joint venture with Getty Images under the name See Your World, LLC. On January 30, 2012, the Life.com URL became a photo channel on Time.com. Life was founded on January 4, 1883, in a New York City artist's studio at 1155 Broadway, as a partnership between John Ames Mitchell and Andrew Miller. Mitchell held a 75% interest in the magazine with the remaining 25% held by Miller. Both men retained their holdings until their deaths. Miller served as secretary-treasurer of the magazine and managed the business side of the operation. Mitchell, a 37-year-old illustrator who used a $10,000 inheritance to invest in the weekly magazine, served as its publisher. He also created the first Life name-plate with cupids as mascots and later on, drew its masthead of a knight leveling his lance at the posterior of a fleeing devil. Then he took advantage of a new printing process using zinc-coated plates, which improved the reproduction of his illustrations and artwork. This edge helped because Life faced stiff competition from the best-selling humor magazines Judge and Puck, which were already established and successful. Edward Sandford Martin was brought on as Life's first literary editor; the recent Harvard University graduate was a founder of the Harvard Lampoon. The motto of the first issue of Life was: "While there's Life, there's hope." The new magazine set forth its principles and policies to its readers: The magazine was a success and soon attracted the industry's leading contributors, of which the most important was Charles Dana Gibson. Three years after the magazine was founded, the Massachusetts native first sold Life a drawing for $4: a dog outside his kennel howling at the Moon. Encouraged by a publisher, also an artist, Gibson was joined in Life early days by illustrators such as Palmer Cox (creator of the Brownie), A. B. Frost, Oliver Herford and E. W. Kemble. Life's literary roster included the following: John Kendrick Bangs, James Whitcomb Riley and Brander Matthews. Mitchell was accused of anti-Semitism at a time of high rates of immigration to New York of eastern European Jews. When the magazine blamed the theatrical team of Klaw & Erlanger for Chicago's Iroquois Theater Fire in 1903, many people complained. Life's drama critic, James Stetson Metcalfe, was barred from the 47 Manhattan theatres controlled by the Theatrical Syndicate. Life published caricatures of Jews with large noses. Several individuals would publish their first major works in Life. In 1908 Robert Ripley published his first cartoon in Life, 20 years before his Believe It or Not! fame. Norman Rockwell's first cover for Life magazine, Tain't You, was published May 10, 1917. His paintings were featured on Life's cover 28 times between 1917 and 1924. Rea Irvin, the first art director of The New Yorker and creator of the character "Eustace Tilley", began his career by drawing covers for Life. This version of Life took sides in politics and international affairs, and published pro-American editorials. After Germany attacked Belgium in 1914, Mitchell and Gibson undertook a campaign to push the U.S. into the war. Gibson drew the Kaiser as a bloody madman, insulting Uncle Sam, sneering at crippled soldiers, and shooting Red Cross nurses. Following Mitchell's death in 1918, Gibson bought the magazine for $1 million, but the end of World War I had brought on social change. Life's brand of humor was outdated, as readers wanted more daring and risque works, and Life struggled to compete. A little more than three years after purchasing Life, Gibson quit and turned the decaying property over to publisher Clair Maxwell and treasurer Henry Richter. Gibson retired to Maine to paint and lost interest in the magazine. In 1920, Gibson selected former Vanity Fair staffer Robert E. Sherwood as editor. A WWI veteran and member of the Algonquin Round Table, Sherwood tried to inject sophisticated humor onto the pages. Life published Ivy League jokes, cartoons, flapper sayings and all-burlesque issues. Beginning in 1920, Life undertook a crusade against Prohibition. It also tapped the humorous writings of Frank Sullivan, Robert Benchley, Dorothy Parker, Franklin Pierce Adams and Corey Ford. Among the illustrators and cartoonists were Ralph Barton, Percy Crosby, Don Herold, Ellison Hoover, H. T. Webster, Art Young and John Held, Jr. Life had 250,000 readers in 1920, but as the Jazz Age rolled into the Great Depression, the magazine lost money and subscribers. By the time Maxwell and editor George Eggleston took over, Life had switched from publishing weekly to monthly. The two men went to work revamping its editorial style to meet the times, which resulted in improved readership. However, Life had passed its prime and was sliding toward financial ruin. The New Yorker, debuting in February 1925, copied many of the features and styles of Life; it recruited staff from its editorial and art departments. Another blow to Life's circulation came from raunchy humor periodicals such as Ballyhoo and Hooey, which ran what can be termed "outhouse" gags. In 1933, Esquire joined Life's competitors. In its final years, Life struggled to make a profit. Announcing the end of Life, Maxwell stated: "We cannot claim, like Mr. Gene Tunney, that we resigned our championship undefeated in our prime. But at least we hope to retire gracefully from a world still friendly." Life was an American magazine of humor, commentary, and entertainment founded by John Ames Mitchell in the 19th century. (He also edited it for the majority of its run, until his death.) Life began in 1883. No issue copyright renewals were found for this serial. The first copyright-renewed contribution is from June 14, 1929. In 1936, the magazine was bought by Henry Luce of Time, Inc., who launched a new magazine with the same name but completely different staff and subscription base. We are not aware of active copyrights in the issues linked below.
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Life is an American magaZINE published weekly from 1883 to 1972, as an intermittent "special" until 1978, a monthly from 1978 until 2000, and an online supplement since 2008. During its golden age from 1936 to 1972, Life was a wide-ranging weekly general-interest magazine known for the quality of its photography, and was one of the nation's most popular magazines, regularly reaching one-quarter of the population.
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