Iconic photos of a changing city, and commentary on our Collections & Exhibitions from the crew at MCNY.org
Illustrator McCauley “Mac” Conner, born in 1913 and still active today at the age of 101, continues to reside in New York City. He arrived during World War II and stayed on to forge his career at a time when the city served as the hub of a burgeoning publishing and advertising industry. From the late 1940s through the early 1960s, Conner enjoyed great success as an illustrator for advertisements and for fiction stories appearing in several women’s and general interest magazines. Mac Conner: A New York Life, on view at the City Museum through January 19, 2015, features over 70 never-before-exhibited original paintings and offers a window into this particular moment of New York City history.
Illustration for “Where’s Mary Smith?” in Good Housekeeping, June 1950
Gouache and gesso on masonite
© Mac Conner. Courtesy of the artist
Conner is a keen observer of people, which manifests in the details of gesture and dress that he incorporates into his illustrations. It is this aspect of the process that attracts him, and that he feels distinguishes his work from that of an artist. “I was never interested in landscapes and that kind of thing,” Conner notes. “I was never an artist, in other words. I liked to paint people.” An artist, he explains, “gets a thrill out of painting that tree or that valley. And I never got my thrills that way. I got my thrills from people doing things, the way [a person] stands … they all had their characteristics, and I liked to paint them.”
A similar sensibility informs the photographs of a young Stanley Kubrick, who worked in the same era as a staff photographer for LOOK magazine. From 1945-1950, before gaining notoriety as a film director, Kubrick captured candid moments of everyday life on the streets of New York City. Both Conner and Kubrick were tasked with providing striking images that would grab the attention of readers, but they differed in their approaches and intent—in part because they provided imagery to distinct types of publications.
Illustration for “How Do You Love Me” in Woman’s Home Companion, August 1950
Gouache on illustration board
© Mac Conner. Courtesy of the artist
Stanley Kubrick for LOOK magazine. Street Conversations [Woman walking down the street]. 1946. Museum of the City of New York. X2011.4.10296.50
Conner, like Kubrick, worked on assignment. He was a mainstay illustrator for The Saturday Evening Post, Collier’s, and This Week Magazine—a newspaper supplement that at its height appeared in 42 papers nationwide and could have brought Conner an audience of as many as 13 million people. But much of his work accompanied stories published in leading women’s magazines, notably the group known as the “Seven Sisters” (McCall’s, Redbook, Ladies’ Home Journal, Better Homes & Gardens, Good Housekeeping, Family Circle, and Woman’s Day).
Stanley Kubrick for LOOK magazine. Vaughn Monroe [Woman reading Billboard magazine]. 1949. Museum of the City of New York. X2011.4.11807.126F
Stanley Kubrick for LOOK magazine. The 5 and 10 [Women shopping at Woolworth’s]. 1947. Museum of the City of New York. X2011.4.10254.25E
Conner illustrated many stories that unfold in New York City, and his depictions both align with and depart from the reality that Kubrick’s photos convey. To situate the leading image of Arthur Gordon’s “Let’s Take a Trip Up the Nile,” published in This Week Magazine on November 5, 1950, Conner capitalized on the ubiquity of fire escapes—and the privacy they afforded young couples.
Illustration for “Let’s Take a Trip Up the Nile” in This Week Magazine, November 5, 1950. Gouache and graphite on illustration board.
© Mac Conner. Courtesy of the artist
Stanley Kubrick for LOOK magazine. Park Benches – Love is Everywhere [Couple flirting on a fire escape]. 1946. Museum of the City of New York. X2011.4.10347.11
The narrator of “The Girl Who Was Crazy About Jimmy Durante,” a story by Philip Gould that appeared in the September 1953 issue of Woman’s Day, shares Conner and Kubrick’s predilection for people-watching. Conner illustrated this story, and Kubrick’s photograph of the New York City subway reveals his real-life inspiration.
Illustration for “The Girl Who Was Crazy About Jimmy Durante” in Woman’s Day, September 1953. Gouache
and ink on illustration board.
© Mac Conner. Courtesy of the artist
Stanley Kubrick for LOOK magazine. Life and Love on the New York City Subway [Passengers on a subway]. 1946. Museum of the City of New York. X2011.4.11107.100A
The story’s teller notes all of the details of the young lady’s dress—and how becoming they are to her—and speculates about the details of her life. “She looked too young to be some big executive’s privileged private secretary,” he muses, concluding that she might work along Madison Avenue at one of the advertising agencies. “Have you ever walked along Madison Avenue at dusk?” he queries of the reader. “I wasn’t living in New York before I went in the Army, but I knew some New Yorkers then who used to get that faraway look in their eyes like the rest of us, and now I know what they were daydreaming about, where they wished they were. Madison Avenue at dusk, with all the pretty girls from all the offices and modeling agencies streaming out of the stately buildings on their way home. All the pretty young American girls, still fresh and bright after a long day, their hair shining, their clothes just right.” Kubrick immortalized a transient moment such as the narrator describes: two well-heeled young ladies leaving a large office building on 34th Street, two blocks off Madison.
Stanley Kubrick for LOOK magazine. People Mugging [Women walking out of a building]. 1946. Museum of the City of New York. X2011.4.10303.114
Illustration for “Strictly Respectable” in Redbook, August 1953.
Gouache on illustration board
© Mac Conner. Courtesy of the artist
Conner’s depictions of women are reflections of what he saw, but they also set the fashion. Guest curator Terry Brown relates that “it was not uncommon for ladies to go in to a hairdresser, hold out an illustration torn out of a magazine, and say ‘I want my hair to look like that!’” Conner’s women carry purses that match their gloves, display painted nails, and wear the latest fashions, like the wasp-waisted dresses that emphasized the female form and celebrated the end of fabric rationing following World War II. Importantly, his representations offered a model to which women could aspire that was also plausibly within their reach.
Stanley Kubrick for LOOK magazine. Women Trying on Hats [Woman trying on a hat in a department store]. 1946. Museum of the City of New York. X2011.4.10345.46
Illustration for “The Good Husband” in Collier’s, February 4, 1955. Gouache and pastel on illustration board.
© Mac Conner. Courtesy of the artist
Kubrick’s photographs show stylish women on the street, whose discerning fashion sense informed Conner’s work, as well as ladies who frequented stores in pursuit of this seemingly artless elegance. Conner’s is a version of womanliness that fits within the prescribed gender roles of mid-century society while also allowing women individuality, creativity, and power over their self-presentation—a vision that continues to inspire today.