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Edward Sorel
Edward Sorel (born Edward Schwartz, March 26, 1929) is an American illustrator, caricaturist, cartoonist, graphic designer and author. His work is known for its storytelling, its left-liberal social commentary, and its criticism of right-wing politics and organized religion. Formerly a regular contributor to The Nation, New York Magazine and The Atlantic, his work is today seen more frequently in Vanity Fair. He has been hailed by The New York Times as "one of America's foremost political satirists". As a lifelong New Yorker, a large portion of his work interprets the life, culture and political events of New York City. There is also a large body of work which is nostalgic for the stars of 1930s and 1940s Hollywood when Sorel was a youth. Sorel is noted for his wavy pen-and-ink style, which he describes as "spontaneous direct drawing".
Sorel was born and grew up in The Bronx, the son of Jewish immigrants. His father was a door-to-door dry goods salesman, and his mother worked full-time in a hatmaking factory. When a case of double pneumonia confined Sorel to bed for nearly a year, he passed the time learning to draw and it evolved into a career path. He attended the High School of Music & Art, and graduated from the Cooper Union in 1951.
As he explains in Mary Astor's Purple Diary, he took his name from the character Julien Sorel of The Red and the Black by Stendhal, with whom he felt akin because both hated their fathers, the clergy and the corrupt society of their time.
Sorel was a co-founder of Push Pin Studios with Milton Glaser, Seymour Chwast, and Reynold Ruffins in 1953.
In 1956 Sorel went freelance. His first published illustration was A War for Civilization, which he sold to the satirical magazine The Realist; in 1961. He then sold the magazine a cartoon satirizing the glamor of the Kennedy family, an early example of his parody movie posters. Victor Navasky appointed him art director for the satirical magazine Monocle in 1963. The illustrations that accompanied the 1966 article “Frank Sinatra Has a Cold” were made by Sorel, who also did the artwork for the front cover of the Esquire issue the article was in. In the later 1960s he produced full-color satirical bestiaries for the left-wing journal Ramparts, and a series called "Sorel's Unfamiliar Quotations" for The Atlantic. A profile of Sorel in Time 15 October 1968 was instrumental in selling "Sorel's News Service" by King Features to 44 syndicated newspapers for 14 months from later 1969 through 1970. Clay Felker founded New York magazine in the late 1960s and Glaser hired Sorel as its art director in the late 1970s.
Sorel also contributed covers and features to early issues of National Lampoon. When Felker bought the Village Voice in 1974 Sorel was given a weekly spot there, which lasted for most of the 1970s. By the mid-1980s Sorel moved to The Nation, now edited by his old colleague Navasky, and to which he contributed for the next decade. Sorel joined The New Yorker in late 1992 contributing a cover to the first issue edited by new editor Tina Brown. He has contributed many illustrations, features, and 44 covers to The New Yorker.
He has contributed many features to Vanity Fair. His art has also appeared on the covers of Harper's Magazine, Fortune, Forbes, Esquire, Time, American Heritage, Atlantic Monthly. Sorel also had a lengthy association with Penthouse, often lavishly reworking earlier drawings and ideas from his work for The Village Voice and The Nation.
In 2007 he completed the celebrated mural for the Waverly Inn in New York's Greenwich Village, which was published as a book, The Mural at the Waverly Inn in 2008. In 2009 he completed the mural for the redesigned Monkey Bar Restaurant in New York City.
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Edward Sorel
Edward Sorel (born Edward Schwartz, March 26, 1929) is an American illustrator, caricaturist, cartoonist, graphic designer and author. His work is known for its storytelling, its left-liberal social commentary, and its criticism of right-wing politics and organized religion. Formerly a regular contributor to The Nation, New York Magazine and The Atlantic, his work is today seen more frequently in Vanity Fair. He has been hailed by The New York Times as "one of America's foremost political satirists". As a lifelong New Yorker, a large portion of his work interprets the life, culture and political events of New York City. There is also a large body of work which is nostalgic for the stars of 1930s and 1940s Hollywood when Sorel was a youth. Sorel is noted for his wavy pen-and-ink style, which he describes as "spontaneous direct drawing".
Sorel was born and grew up in The Bronx, the son of Jewish immigrants. His father was a door-to-door dry goods salesman, and his mother worked full-time in a hatmaking factory. When a case of double pneumonia confined Sorel to bed for nearly a year, he passed the time learning to draw and it evolved into a career path. He attended the High School of Music & Art, and graduated from the Cooper Union in 1951.
As he explains in Mary Astor's Purple Diary, he took his name from the character Julien Sorel of The Red and the Black by Stendhal, with whom he felt akin because both hated their fathers, the clergy and the corrupt society of their time.
Sorel was a co-founder of Push Pin Studios with Milton Glaser, Seymour Chwast, and Reynold Ruffins in 1953.
In 1956 Sorel went freelance. His first published illustration was A War for Civilization, which he sold to the satirical magazine The Realist; in 1961. He then sold the magazine a cartoon satirizing the glamor of the Kennedy family, an early example of his parody movie posters. Victor Navasky appointed him art director for the satirical magazine Monocle in 1963. The illustrations that accompanied the 1966 article “Frank Sinatra Has a Cold” were made by Sorel, who also did the artwork for the front cover of the Esquire issue the article was in. In the later 1960s he produced full-color satirical bestiaries for the left-wing journal Ramparts, and a series called "Sorel's Unfamiliar Quotations" for The Atlantic. A profile of Sorel in Time 15 October 1968 was instrumental in selling "Sorel's News Service" by King Features to 44 syndicated newspapers for 14 months from later 1969 through 1970. Clay Felker founded New York magazine in the late 1960s and Glaser hired Sorel as its art director in the late 1970s.
Sorel also contributed covers and features to early issues of National Lampoon. When Felker bought the Village Voice in 1974 Sorel was given a weekly spot there, which lasted for most of the 1970s. By the mid-1980s Sorel moved to The Nation, now edited by his old colleague Navasky, and to which he contributed for the next decade. Sorel joined The New Yorker in late 1992 contributing a cover to the first issue edited by new editor Tina Brown. He has contributed many illustrations, features, and 44 covers to The New Yorker.
He has contributed many features to Vanity Fair. His art has also appeared on the covers of Harper's Magazine, Fortune, Forbes, Esquire, Time, American Heritage, Atlantic Monthly. Sorel also had a lengthy association with Penthouse, often lavishly reworking earlier drawings and ideas from his work for The Village Voice and The Nation.
In 2007 he completed the celebrated mural for the Waverly Inn in New York's Greenwich Village, which was published as a book, The Mural at the Waverly Inn in 2008. In 2009 he completed the mural for the redesigned Monkey Bar Restaurant in New York City.