Description: 1984 HOLIDAY EASTER BASKET SPRING FLOWER OLIVER ARTIST NEW YORKER COVER FC1059 DATE OF THIS ** ORIGINAL ** ITEM: 1984ILLUSTRATOR/ARTIST: Jenni Oliver, the Edgartown painter and illustrator whose graceful work appeared on covers of The New Yorker, died at home at on Oct. 29. The cause was complications of amyotrophic lateral sclerosis (ALS). She was 70 and had lived at Sweetened Water Farm with her husband Edly for more than four decades, in a home he built, surrounded by gardens Jenni tended with a passion. “I find that the best things come when you have a passion for them,” she told the Gazette in a 1983 interview. Jennifer Clark Low was born Nov. 9, 1944, in Bloomington, Ind., the daughter of Ruth and Joseph Low. Ruth had been a writer and contributor to the Gazette and Joseph was an artist with New Yorker cover credits to his name, in whose shoes Jenni would later follow. The Lows had long ties to the Vineyard and built a house in Chilmark in the early 1970s. After a childhood in Taos, N.M. and Connecticut, Jenni did a brief stint at Guilford College in North Carolina, followed later by enrollment at the Massachusetts College of Art in Cambridge where she obtained a degree in graphic arts. She met Edly in North Carolina and introduced him to the Vineyard. They lived for a number of years in Cambridge, moving to the Island in 1968. For the first five years they rented a garden cottage at Fourway in Vineyard Haven, before building their house at one of the first Vineyard Open Land Foundation-sponsored lots at Sweetened Water Farm in Edgartown. Jenni’s first New Yorker cover appeared in September 1975, a scene on a summer porch with a rocker and two bowls of green beans. As would become her signature, the painting had no people in it. In the Gazette interview, just after her twelfth cover had been published (a summery painting of the Clough house on William street in Vineyard Haven) Jenni recalled that the scenes without people began at the suggestion of her art director at the magazine. “I remember showing him something from my portfolio,” she said. “There was a woman standing at a gate with lots of morning glories. And he suggested, ‘Why don’t you try something like this without the person in it?’ So I did one and I started to get intrigued by the whole idea, the mystery of it.” She painted what she loved, scenes of Vineyard life and nature. In all, the New Yorker purchased 35 of her paintings for cover art, 28 of which were published. She also painted animal and pet portraits. One notable work was done as a surprise for Harold Rogers, a gift from his wife Marjory Manter, and included as many family pets as would fit. There were also book illustrations, such as Rabbit Tales, January Brings the Snow and My Name is Emily. Jenni’s garden at Sweetened Water was a work of art in itself, and her love of flowers was matched by her love of animals. A murder of crows was fed every morning. A small Guernsey, Day Lily, pictured on the cover of January Brings the Snow, was adopted and kept in a stall in the Sweetened Water barn. When Day Lily had her first calf, there was an all-night vigil at the barn, until a small calf (named Ken after a favorite young friend of the Olivers) was born. But when Day Lily took to leaping the Sweetened Water fences to keep company with cows down the road at Morning Glory Farm, she was moved to Fred Fisher’s farm in West Tisbury. Jenni visited every week and Day Lily would come running to her call. In the Gazette interview, she talked about the influence of nature on her work and also the creative obstacles the Island can pose to artists. “If you’re not self disciplined this is a great place to come and not produce,” she said. “Even if you come to the Vineyard thinking that you’re very self sufficient and independent, you soon realize that you aren’t, that you need stimulation. I think for me, anyway, the stimulation becomes nature. When nothing else is happening, you’re more aware of the weather, of the seasons. In the city, it can be February and cold and rainy, and you know you could go to a museum or visit some fascinating little shop. So it doesn’t matter what the weather is. Here, it does matter what the weather is.” Diagnosed about a year ago with ALS, Jenni was brave and resolute, taking to the internet to communicate with family and friends. She has donated her body to ALS research. In addition to her husband of 50 years, she is survived by a sister, Damaris Botwick of Chatham, N.Y.; her sister in law Annette Smith, brother in law Theodore Oliver and sister and brother in law Susan and Bill Coxe, all of Charlotte, N.C. A memorial gathering is being planned for the future. SPECIAL CHARACTERISTICS/DESCRIPTIVE WORDS: The New Yorker (stylized in all caps) is an American magazine featuring journalism, commentary, criticism, essays, fiction, satire, cartoons, and poetry. Founded as a weekly in 1925, the magazine is published 47 times annually, with five of these issues covering two-week spans. Although its reviews and events listings often focus on the cultural life of New York City, The New Yorker also produces long-form journalism and shorter articles and commentary on a variety of topics, has a wide audience outside New York, and is read internationally. It is well known for its illustrated and often topical covers, its commentaries on popular culture and eccentric American culture, its attention to modern fiction by the inclusion of short stories and literary reviews, its rigorous fact checking and copy editing, its journalism on politics and social issues, and its single-panel cartoons sprinkled throughout each issue. The New Yorker was founded by Harold Ross (1892–1951) and his wife Jane Grant (1892–1972), a New York Times reporter, and debuted on February 21, 1925. Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as Judge, where he had worked, or the old Life. Ross partnered with entrepreneur Raoul H. Fleischmann (who founded the General Baking Company) to establish the F-R Publishing Company. The magazine's first offices were at 25 West 45th Street in Manhattan. Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross declared in a 1925 prospectus for the magazine: "It has announced that it is not edited for the old lady in Dubuque." Although the magazine never lost its touches of humor, it soon established itself as a preeminent forum for serious fiction, essays and journalism. Shortly after the end of World War II, John Hersey's essay Hiroshima filled an entire issue. The magazine has published short stories by many of the most respected writers of the 20th and 21st centuries, including Ann Beattie, Sally Benson, Maeve Brennan, Truman Capote, Rachel Carson, John Cheever, Roald Dahl, Mavis Gallant, Geoffrey Hellman, Ernest Hemingway, Stephen King, Ruth McKenney, John McNulty, Joseph Mitchell, Alice Munro, Haruki Murakami, Vladimir Nabokov, John O'Hara, Dorothy Parker, S.J. Perelman, Philip Roth, George Saunders, J. D. Salinger, Irwin Shaw, James Thurber, John Updike, Eudora Welty, and E. B. White. Publication of Shirley Jackson's "The Lottery" drew more mail than any other story in the magazine's history. In its early decades, the magazine sometimes published two or even three short stories in an issue, but in later years the pace has remained steady at one story per issue. The nonfiction feature articles (usually the bulk of an issue) cover an eclectic array of topics. Subjects have included eccentric evangelist Creflo Dollar, the different ways in which humans perceive the passage of time, and Münchausen syndrome by proxy. The magazine is known for its editorial traditions. Under the rubric Profiles, it has published articles about prominent people such as Ernest Hemingway, Henry R. Luce and Marlon Brando, Hollywood restaurateur Michael Romanoff, magician Ricky Jay, and mathematicians David and Gregory Chudnovsky. Other enduring features have been "Goings on About Town", a listing of cultural and entertainment events in New York, and "The Talk of the Town", a feuilleton or miscellany of brief pieces—frequently humorous, whimsical, or eccentric vignettes of life in New York—in a breezily light style, although latterly the section often begins with a serious commentary. For many years, newspaper snippets containing amusing errors, unintended meanings or badly mixed metaphors ("Block That Metaphor") have been used as filler items, accompanied by a witty retort. There is no masthead listing the editors and staff. Despite some changes, the magazine has kept much of its traditional appearance over the decades in typography, layout, covers and artwork. The magazine was acquired by Advance Publications, the media company owned by Samuel Irving Newhouse Jr, in 1985, for $200 million when it was earning less than $6 million a year. Ross was succeeded as editor by William Shawn (1951–87), followed by Robert Gottlieb (1987–92) and Tina Brown (1992–98). The current editor of The New Yorker is David Remnick, who succeeded Brown in July 1998. Among the important nonfiction authors who began writing for the magazine during Shawn's editorship were Dwight Macdonald, Kenneth Tynan, and Hannah Arendt, whose Eichmann in Jerusalem reportage appeared in the magazine, before it was published as a book. Brown's tenure attracted more controversy than Gottlieb's or even Shawn's, thanks to her high profile (Shawn, by contrast, had been an extremely shy, introverted figure), and to the changes she made to a magazine with a similar look for the previous half-century. She introduced color to the editorial pages (several years before The New York Times) and included photography, with less type on each page and a generally more modern layout. More substantively, she increased the coverage of current events and topics such as celebrities and business tycoons, and placed short pieces throughout "Goings on About Town", including a racy column about nightlife in Manhattan. A letters-to-the-editor page was introduced, and authors' bylines were added to their "Talk of the Town" pieces. Since the late 1990s, The New Yorker has used the Internet to publish current and archived material, and maintains a website with some content from the current issue (plus exclusive web-only content). Subscribers have access to the full current issue online and a complete archive of back issues viewable as they were originally printed. In addition, The New Yorker's cartoons are available for purchase online. A digital archive of back issues from 1925 to April 2008 (representing more than 4,000 issues and half a million pages) was also issued on DVD-ROMs and on a small portable hard drive. More recently, an iPad version of the current issue has been released. In 2014, The New Yorker opened up access online to all of its archives, expanded its plans to run an ambitious Website, and launched a paywalled subscription model. “What we’re trying to do,” said Nicholas Thompson, the editor of the Website, “is to make a website that is to the Internet what the magazine is to all other magazines.” The magazine's editorial staff unionized in 2018 and The New Yorker Union signed its first collective bargaining agreement in 2021. The New Yorker influenced a number of similar magazines, including The Brooklynite (1926 to 1930), The Chicagoan (1926 to 1935), and Paris's The Boulevardier (1927 to 1932). Cartoons - COMIC ART The New Yorker has featured cartoons (usually gag cartoons) since it began publication in 1925. For years, its cartoon editor was Lee Lorenz, who first began cartooning in 1956 and became a New Yorker contract contributor in 1958. After serving as the magazine's art editor from 1973 to 1993 (when he was replaced by Françoise Mouly), he continued in the position of cartoon editor until 1998. His book The Art of the New Yorker: 1925–1995 (Knopf, 1995) was the first comprehensive survey of all aspects of the magazine's graphics. In 1998, Robert Mankoff took over as cartoon editor and edited at least 14 collections of New Yorker cartoons. Mankoff also usually contributed a short article to each book, describing some aspect of the cartooning process or the methods used to select cartoons for the magazine. He left the magazine in 2017. The New Yorker's stable of cartoonists has included many important talents in American humor, including Charles Addams, Peter Arno, Charles Barsotti, George Booth, Roz Chast, Tom Cheney, Sam Cobean, Leo Cullum, Richard Decker, Pia Guerra, J. B. Handelsman, Helen E. Hokinson, Pete Holmes, Ed Koren, Reginald Marsh, Mary Petty, George Price, Charles Saxon, Burr Shafer, Otto Soglow, William Steig, Saul Steinberg, James Stevenson, James Thurber, and Gahan Wilson. Many early New Yorker cartoonists did not caption their cartoons. In his book The Years with Ross, Thurber describes the newspaper's weekly art meeting, where cartoons submitted over the previous week were brought up from the mail room to be looked over by Ross, the editorial department, and a number of staff writers. Cartoons were often rejected or sent back to artists with requested amendments, while others were accepted and captions were written for them. Some artists hired their own writers; Helen Hokinson hired James Reid Parker in 1931. Brendan Gill relates in his book Here at The New Yorker that at one point in the early 1940s, the quality of the artwork submitted to the magazine seemed to improve. It later was found out that the office boy (a teenaged Truman Capote) had been acting as a volunteer art editor, dropping pieces he did not like down the far end of his desk. Several of the magazine's cartoons have reached a higher plateau of fame. One 1928 cartoon drawn by Carl Rose and captioned by E. B. White shows a mother telling her daughter, "It's broccoli, dear." The daughter responds, "I say it's spinach and I say the hell with it." The phrase "I say it's spinach" entered the vernacular, and three years later, the Broadway musical Face the Music included Irving Berlin's song "I Say It's Spinach (And the Hell with It)". The catchphrase "back to the drawing board" originated with the 1941 Peter Arno cartoon showing an engineer walking away from a crashed plane, saying, "Well, back to the old drawing board." The most reprinted is Peter Steiner's 1993 drawing of two dogs at a computer, with one saying, "On the Internet, nobody knows you're a dog". According to Mankoff, Steiner and the magazine have split more than $100,000 in fees paid for the licensing and reprinting of this single cartoon, with more than half going to Steiner. Over seven decades, many hardcover compilations of New Yorker cartoons have been published, and in 2004, Mankoff edited The Complete Cartoons of The New Yorker, a 656-page collection with 2,004 of the magazine's best cartoons published during 80 years, plus a double CD set with all 68,647 cartoons ever published in the magazine. This features a search function allowing readers to search for cartoons by cartoonist's name or year of publication. The newer group of cartoonists in recent years includes Pat Byrnes, J. C. Duffy, Liana Finck, Emily Flake, Robert Leighton, Michael Maslin, Julia Suits, and P. C. Vey. Will McPhail cited his beginnings as "just ripping off Calvin and Hobbes, Bill Watterson, and doing little dot eyes." The notion that some New Yorker cartoons have punchlines so oblique as to be impenetrable became a subplot in the Seinfeld episode "The Cartoon", as well as a playful jab in The Simpsons episode "The Sweetest Apu". In April 2005, the magazine began using the last page of each issue for "The New Yorker Cartoon Caption Contest". Captionless cartoons by The New Yorker's regular cartoonists are printed each week. Captions are submitted by readers, and three are chosen as finalists. Readers then vote on the winner. Anyone age 13 or older can enter or vote. Each contest winner receives a print of the cartoon (with the winning caption) signed by the artist who drew the cartoon. In 2017, after Bob Mankoff left the magazine, Emma Allen became the youngest and first female cartoon editor in the magazine's history.ADVERT SIZE: SEE RULER SIDES IN PHOTO FOR DIMENSIONS ( ALL DIMENSIONS IN INCHES) **For multiple purchases please ASK FOR + wait for our combined invoice. 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