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2016-04-26T00:00:00.000Z

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Wrong Michael Maslin?

Michael Maslin

Cartoonist

The New Yorker

HQ Phone: (212) 971-0101

Email: m***@***.com

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The New Yorker

481 Eighth Avenue 17Th Floor, Suite 1745

New York, New York 10001

United States

Company Description

The New Yorker is a national weekly magazine that offers a signature mix of reporting and commentary on politics, foreign affairs, business, technology, popular culture, and the arts, along with humor, fiction, poetry, and cartoons. Founded in 1925, The N ... more

Find other employees at this company (1,568)

Background Information

Employment History

Cartoonist

Chiasmus

Affiliations

Founder
Revolutions

Founder
Rivers

Education

Masters of Education

Harvard University

Web References (136 Total References)


MAD AT SOMETHING: The Life & ...

chaseliterary.com [cached]

MAD AT SOMETHING: The Life & Art of The New Yorker's Peter Arno, by Michael Maslin (Regan Arts)


MAD AT SOMETHING: The Life & ...

chaseliterary.com [cached]

MAD AT SOMETHING: The Life & Art of The New Yorker's Peter Arno, by Michael Maslin (Regan Arts)


MAD AT SOMETHING: The Life & ...

chaseliterary.com [cached]

MAD AT SOMETHING: The Life & Art of The New Yorker's Peter Arno, by Michael Maslin (Regan Arts)


MAD AT SOMETHING: The Life & ...

chaseliterary.com [cached]

MAD AT SOMETHING: The Life & Art of The New Yorker's Peter Arno, by Michael Maslin (Regan Arts)


That's what prompted Michael ...

www.northjersey.com [cached]

That's what prompted Michael Maslin, himself a New Yorker cartoonist, to write a new biography, "Peter Arno: The Mad, Mad World of The New Yorker's Greatest Cartoonist" (Regan Arts, New York, 287 pages).

...
"It occurred to me that he hadn't been given his due," says Maslin, originally from Bloomfield, who made his first contribution to The New Yorker in 1977 (his wife, Liza Donnelly, is also a New Yorker cartoonist). He'll be on hand to sign copies of his book at Books & Greetings on Thursday.
"His art really raised the bar exceptionally high," Maslin says.
...
"When you look at any old New Yorker, and you come to an Arno - especially if it's a full page - you stop," Maslin says.
...
"I had never heard of a cartoonist in trouble with the law before," Maslin says.
...
"The circulation kept going down and down and down, and when [Arno] arrived at the magazine, they had planned to kill it," Maslin says.
...
"They were dated and not very funny," Maslin says.
...
"Arno said the key to a successful New Yorker cartoon was the interdependence of drawing and caption," Maslin says.
...
But Maslin, whose own witty cartoons probably owe more to the Thurber influence, knows enough about The New Yorker culture not to hold this against him. Especially since the Arno cartoons - however they came about - are so often so good.
"I've been doing this a long time, and I think I can understand the way of life and the way things work at the magazine," he says.
...
That's what prompted Michael Maslin, himself a New Yorker cartoonist, to write a new biography, "Peter Arno: The Mad, Mad World of The New Yorker's Greatest Cartoonist" (Regan Arts, New York, 287 pages).
...
WHO: Michael Maslin.
...
"It occurred to me that he hadn't been given his due," says Maslin, originally from Bloomfield, who made his first contribution to The New Yorker in 1977 (his wife, Liza Donnelly, is also a New Yorker cartoonist). He'll be on hand to sign copies of his book at Books & Greetings on Thursday.
"His art really raised the bar exceptionally high," Maslin says.
...
"When you look at any old New Yorker, and you come to an Arno - especially if it's a full page - you stop," Maslin says.
...
"I had never heard of a cartoonist in trouble with the law before," Maslin says.
...
"The circulation kept going down and down and down, and when [Arno] arrived at the magazine, they had planned to kill it," Maslin says.
...
"They were dated and not very funny," Maslin says.
...
"Arno said the key to a successful New Yorker cartoon was the interdependence of drawing and caption," Maslin says.
...
But Maslin, whose own witty cartoons probably owe more to the Thurber influence, knows enough about The New Yorker culture not to hold this against him. Especially since the Arno cartoons - however they came about - are so often so good.
"I've been doing this a long time, and I think I can understand the way of life and the way things work at the magazine," he says.

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