Pin -Up Art



Angelo Asti

Addams Lara
Altuna Horacio
Armstrong Rolf



Barn Dog
de Berardinis Olivia
Bolles Enoch
Brule Al



Chiriaka Ernest
Claus Jean-Claude



D'Ancona Edward
Driben Peter



Ekman Harry
Elvgren Gil
Erbit Jules



Father and Larson
Fisher Harrison



Guerra Antony



Hildebrandt Greg
Henslee Jack



Jennifer Janesko



Kacere John
Kimer Ted



de Lartigue Hubert
Layne Bill
Lewis Scott
von Lind Jerry
Linsner Joseph



Martin Ken
di Mauro Lorenzo
Medcalf Bill
Meunier Susanne
Mobius Michael
Moran Earl
Mozert Zoe
Munson K.O.

netsler??????????  lorenco di mauro?????






Pearl Frush
Petty George
Posada Drew
Powers Guy






Ramos Meir
Randall Bill
Runci Edward



Sarger Xavier
Sorayama Hajime
Sperlong Lorenzo



Ted Withers
Thompson T.N.



Vargas Alberto
de Vross Billy



Walt Otto
Willis Fritz
Pin -Up Art



A Brief History of the Pin-up

Kevin Freeman


In order to bring some context to the Mutoscope world, I'll give a sketchy review of "pin-ups" and information on selected pin-up artists. Keep in mind, this is neither exhaustive nor scholarly. For more expert discourse, I invite you to consult with the sources I've cited in my credits page and following each biography. Since the term can encompass other media, see also other entries on photography, pulps, magazines and comics.

The modern antecedents of the pin-up can be traced to the Gibson Girl in America, who made her debut in 1887, and the Art Nouveau posters of Alphonso Mucha and Jules Chéret in Europe. The prototypical pin-up postcard artist of the nineteenth century, Raphael Kirchner, contributed to the establishment of the "pretty girl" format. Also becoming publicly acceptable was such mainstream popular art as 'Psyche at Nature's Mirror' by Paul Thumann, first seen in Munsey's December 1893 Issue. White Rock beverages then adopted it as their trademark and, by 1947, the demure Psyche was attending parties topless! Two popular Glamour icons to follow the Gibson Girl, were those of Howard Chandler Christy and Harrison Fisher.

At the turn of the century, the calendar was the most prominent form of pin-up material, especially the early "glamour girl" formats by Angelo Asti. In 1913 the controversial nude 'September Morn' by Paul Chabas was censored by the New York Society for the Supression of Vice. Still, the image was subsequently printed on literally hundreds of thousands of calendars, in addition to candy boxes, postcards and more. The Art Deco period also made respectable any art featuring Romantic nudity, such as that of Mabel Rollins Harris, Maxfield Parrish and Hy Hintermeister.

By the 1920s, the golden age of illustration was in full flower. The new film industry fueled the public's appetite for magazines devoted to their celluloid heroes. In the 1800s, a glimpse of a woman's bare ankle could be considered scandalous. Compare that with the blatantly sexual girls of the Roaring Twenties by Enoch Bolles, George Quintana and Earle K. Bergey just a generation later! Corporations and advertising agencies were likewise vying for the services of talented artists to create identities the public would respond to. A significant pre-war American advertising icon was the Arrow Shirt man, portrayed brilliantly by J.C. Leyendecker. Although Leyendecker is primarily known for his depictions of men, he had a profound influence upon popular illustrators such as Norman Rockwell and many who followed.

As popular culture devoured its forbidden voyeuristic fantasies in pulp magazines, and later paperback books, another trend had begun to legitimize the pin-up as a serious art form: Higher brow fare offered by such slick periodicals as Esquire (an important predecessor of Playboy), Cosmopolitan, The Saturday Evening Post and others. Art Deco depictions of the female form were considered tasteful enough for inclusion in these magazines. Alberto Vargas makes for a convenient figure as we watch his style evolve from coy to more explicit. The fact that he started at Esquire and ended up at Playboy also makes for a barometer of trends within pin-up.

While Vargas was refining the centerfold concept, a contemporary of his was pursuing an even higher profile venue - that of superstar commercial artist. George Petty had worked for Esquire (Vargas replaced him after a dispute over salary), but the 'Petty Girl' was a fixture from the 1930s until the 1950s. The Petty Girl pitched a dizzying array of products to a national audience. She became so firmly entrenched in the public's consciousness that a movie was actually made about her - a fictitious airbrushed icon.

During World War Two, pin-ups accompanied G.I.s in the form of movie star photos like Betty Grable and Rita Hayworth. Vargas pin-ups were also very much in evidence in the barracks and as nose-art of the Airforce. Additionally, the Louis F. Dow Calendar Company produced special booklets of pin-up art created by their star artist Gillette Elvgren to be mailed overseas. Check out the Collector's Press Military Pin-Up Kits for example.

After the war, Christian Dior introduced his 'new look', war restrictions on luxury items such as nylons were lifted and undergarments finally made the transition to two separate pieces, the bra and the girdle. Society had moved past the androgynous flappers and the economically depressed 1930s to a new age of prosperity. The move towards commercialization was well under way. If a pretty, wholesome girl-next-door could be utilized to sell a product, why not a girl in stockings modestly flashing some skin (But she's always a 'good girl' - Its not her fault that playful puppy pulled her skirt over her head!). If anyone is responsible for the explosion of vibrant beautiful pitchwomen, it is Chicago artist Haddon Sundblom.

Sundblom's lush oil technique influenced a roster of important pin-up artists. The most famous pupil was Gil Elvgren, who worked at Sundblom's Stevens-Gross advertising agency along with such notable artisans as Al Buell, Harry Ekman, Bill Medcalf and Joyce Ballantyne. Their technique of using thick layers of paint to achieve a warmth and glow was dubbed 'the mayonnaise school'. Other descendants of this style of luminous illustration included Donald 'Rusty' Rust, Art Frahm, Peter Driben, Edward D'Ancona, Edward Runci, Vaughan Alden Bass, Al Brulé and Pearl Frush.

Independent of the national accounts for specific products and services, there were other fertile markets for pin-up art. Brown & Bigelow, for example, consider themselves in the 'rememberance advertising' business. They produce office supplies, playing cards and calendars, many of which are designed to be imprinted by small companies and then given away as promotions. They employed some of the best talent to design both generic and industry-specific artwork (See George Petty's Rigid Tools series for example). Although they, as well as other calendar publishers, occasionally produced nude or 'racy' product, they sought not to alienate their conservative or religious customers with such fare.

Brown & Bigelow also supported several styles of pin-up. In addition to the strait-forward realistic oil paintings of Elvgren and others, they also utilized pastel artists, such as Rolf Armstrong, Earl Moran, Billy DeVorss and Zoe Mozert and originated the 'sketch book' genre pioneered by Earl MacPherson and used to great success by Ballantyne, T.N. Thompson, Fritz Willis, K.O. Munson, Freeman Elliot, Ted Withers and others.

Another arena that no 'respectable' artist would consider entering was the insatiable need for dramatic and titillating covers for the pulp magazines and paperback books of the 1950's. It should be noted that several artists with direct Mutoscope connections, such as Moran and De Vorss, as well as Bergey and Driben, contributed to this astounding art.

Playboy created a sensation with their centerfold of Marilyn Monroe in 1953. Until that time, it was primarily Esquire who provided opportunities for a generation of pin-up artists, including Ben-Hur Baz, Ernest Chiriaka, Mike Ludlow and J. Frederick Smith. Although Esquire had presented photographic pinups previously, they never contained overt nudity.

An interesting footnote to the Pop Art movement of the 1960's is the work of Mel Ramos, who combined nude pin-ups with recognizable corporate images for a satiric blend of cheesecake and commercialism. Another modern artist of mention is Patrick Nagel, who died tragically early in his promising career. Although Nagel's work has the cool aesthetic of woodblocks and don't invite the viewer into a realistic depiction, the fact that his original paintings, and that of his modern contemporaries, commands incredible prices speaks to the current attitudes towards the subject of pin-up as a modern artform.

The introduction of explicit men's magazines (Penthouse introduced the world to pubic hair in 1970) made such innocent depictions seem quaint and old-fashioned. Photography was a quick and easy means to satisfy the pressures of monthly deadlines. Today's sex symbols seem to be comprised of pre-packaged teen sensations, silicone-enhanced quasi porn stars and anorexic 'supermodels'. Modern pin-up artists such as Olivia de Berardinis, Hajime Sorayama, Carlos Cartagena, Jennifer Janesko, Alain Aslan and John Kacere have turned their vision towards photorealistic fantasy or fetishistic subjects and lack the innocence of their predecessors. (Many also tend to specialize in airbrush, a technique that can leave a cold, hard and artificial look.)

Still there are those, such as Dave Stevens, who have not forgotten how to draw a good girl in a bad situation without showing us every anatomical detail of his subjects. We must thank Dave, not only for creating the Rocketeer character, but for reviving interest in the great photo pin-up gal of the 1950s, Bettie Page. I am also particularly fond of some modern European illustrators such as Milo Manara. (There's also Eric Stanton, who provided us with bad girls in bad situations, but that is the opposite direction of cheesecake!) To draw the line arbitrarily, I have created a page specifically for another interest of mine, comics. Although Stevens, Greg Hildebrandt, Jay Pike, Bill Ward and others have experience in the comic world (Which includes the sub-genres of 'good girl', 'bad girl', superheroine and Anime), their depictions continue to expand my precepts of successful pin-up art and are documented elsewhere.

So, pin-up fans, that's as far as I've gotten. It is not my intention to amass an exhaustive pin-up collection of high-resolution images, although I have posted several hundred images in the Gallery. If a particular artist mentioned here has appealed to you, I invite you to check out the links and credits pages here on MutoWorld and the links at the bottom of each artist's biography for the original reference. There are several great pin-up resources available in print and I have tried to be selective in my offerings on my Amazon page.



A Mutoscope is a machine that appeared in penny arcades. The device was basically an elaborate "flip book." These cards were fastened to a large rotating wheel. Herman Casler patented the device with the name Mutoscope by Casler on November 21st 1894. Expanding on the flick-book principle, the Mutoscope contained a sequence of photographs, which were arranged around the perimeter of a drum. A simple turn of a handle flipped the cards rapidly, giving the impression of movement. The Mutoscope was, like the Kinetoscope, a Peepshow device and included a viewing aperture which customers peered into to watch the action. Typically, the devices were loaded with risqué strip shows or teases. Unlike the Kinetoscope, the Mutoscope didn't rely on any special illumination or an electric motor and gave viewers much greater control over the viewing. For example they could control the speed at which the action took place or turning the handle in the reverse direction produced backward motion. Casler had perfected a camera for the Mutoscope to produce films and was in operation by early June of 1895 with some of the first films, it is believed, taken by Dickson. The camera was named the Biograph. In November 1895 the Mutoscope was adapted with a mirror device, the result was projected motion pictures from a Mutoscope. It wasn't long before Casler and his partners perfected a through-the-film projector, which took the name Biograph. The partnership of Dickson, Marvin, Casler and Elias Koopman led to the formation of the American Mutoscope Company on December 27th 1895.

A "pin-up" image is one that shows a full-length view of its subject and characteristically has an element of a theme or some kind of story. The woman in a pin-up is usually dressed in a form-revealing outfit, either one that may be worn in public, such as a bathing suit, sunsuit, or skimpy dress, or one that is more provocative and intimate, such as lingerie. Sometimes, a pin-up may be shown as a nude, but this is more the exception than the rule.

A "glamour art" image may be either a full-length view or a presentation of only the head and shoulders of the subject. The "glamour" woman is generally attired in an evening gown, fancy dress, or some other attire that is less revealing than a pin-up.

"Pretty girl" art is a term used to refer to painting of a glamour art nature that was done by mainstream illustrators. It found its audience among popular magazines like The Saturday Evening Post and Cosmopolitan and in the world of advertising.

Charles Martignette, 'The Great American Pin-Up'

A pin-up is a sexually evocative image, reproduced in multiple copies, in which either the expression or the attitude of the subject invites the viewer to participate vicariously in or fantasize about a personal involvement with the subject.

The classic pin-up genre - cheesecake - fulfills our definition perfectly. Cheesecake (Which Webster defines as "photography displaying especially female comeliness and shapeliness") is said to have gotten its name when, in September 1915, a newspaper photographer, George Miller, noticed a visiting Russian diva, Elvira Amazar, just as she was debarking her ship in New York. Miller asked the opera singer to hike up her skirt a little for the sake of the picture. Later, the photographer's editor, something of a gourmet, is supposed to have exclaimed, "Why, this is better than cheesecake!"

Mark Gabor, 'The Pin-Up: A Modest History'

Good Girl Art

The pin-up gained popularity during WWII when pics of Betty Grable and Rita Hayworth accompanied GI's who were shipped overseas. The photos were a reminder of what they were fighting for. Comic books also played a part in keeping troops entertained. Certain publishers like Fiction House, specialized in pin-up style artwork in all their titles. Wings Comics, Rangers Comics and Fight Comics all had more leg art than battle art. Then, too, certain genre such as jungle stories where females wore minimal clothing, lent itself to the leg art mold. Of these, Sheena, Queen of the Jungle got top billing diring the 1940's. Sheena starred in Fiction House's Jumbo Comics which also featured the zany exploits of a beautiful red head, Ginger McGuire, who's feature was named Sky Girl. In every episode would-be fly gal Ginger took to the air as did her skirt... revealing as much of her long-legged lovliness as superb "good girl" artist Matt Baker could get away with! Bob Lubbers drew Senorita Rio for Fiction House, the sexy American spy who operated in Central and South America.

After the war, girly strips continued in comics and added attention to swelling bust lines as well as wind raised skirts. The top producer of busty babe comics was Fox Features whose headline (or should we say "headlight") features Phantom Lady and Rullah, Jungle Godess, out did even Fiction House. Again Matt Baker, who drew the most beautiful women in comics, was brought in to draw Phantom Lady. The Rulah artist remains unidentified but his style was close to Baker's. Matt pulled double duty by also drawing Tiger Girl and Camilla at Fiction House.

At Quality Comics, Bill Ward's outrageous girly strip, Torchy, added a new element--- lingerie! In every story, the incredibly busty and long legged Torchy Todd managed to get her clothes ripped off to finish the adventure in her underwear! Quality had a few other female features like Choo Choo, Daffy, Candy but none could hold a candle to Torchy!


Bad Girl Art is pretty self explanitory - They're girls and they're bad, Get it? Anyhow, in the interest of further defining this as it relates to sexually explicit comic book characters:

The Bad Girl Art (BGA) Index v0.2:

This is an attempt to quantify the degree of offense given by "Bad Girl Art" as presented to general audiences in solicitation material, such as Diamond's Previews magazine. Any depiction of the female form in a solicitation is fair game for assigning a BGA Index, but the threshhold that must be passed in order to be truly considered BGA has not yet been determined, although 5 seems like a lower bound. Every depiction starts at 0 points, then adds points based on the Format, Pose, Body Type, Clothes Type and Clothes Coverage of the female shown.



Charles Dana Gibson

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1927 Time cover featuring Gibson



Charles Dana Gibson






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