Saul Steinberg, a prominent Romanian American artist and longtime contributor to The New Yorker, is revered for both his artistic precision and humor. His recently reissued collection, "All in Line," encapsulates these traits beautifully. The piece reflects on the author's experiences as Steinberg's editor, highlighting the meticulous process of curating his work. At the core of Steinberg's artistry was a profound exploration of American culture, which he expressed through his unique observations about America and its nuances, an effort described as both serious and challenging by cultural historian Iain Topliss.
When I joined The New Yorker, in 1993, learning I'd be Steinberg's editor felt like being told I'd be Einstein's math tutor. He didn't come to our office, so every month or two I would travel to his Upper East Side sanctuary to choose ideas for publication on the cover or in portfolios, helping him unearth the original concepts from among the thousands of drawings he had accumulated.
These visits followed a ritual as precise as Steinberg's line work. The doorman would announce me, and, when the elevator doors parted, there stood Saul-freshly shaved, often wrapped in pastel cashmere.
Iain Topliss, the cultural historian who provides an afterword for the reissue, explains that curating his own work was always a serious and somewhat tortured endeavor for Steinberg, even in his early days in America.
Saul Steinberg, the Romanian American artist and longtime New Yorker contributor, is as celebrated for his elegant line as he is for his razor-sharp wit.
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