John Philip Falter

in 1916, where his father, George H. Falter, established a clothing store.

Education, Cartooning and New Rochelle

As a high school student, Falter created a comic strip, "Down Thru the Ages", which was published in the [http://www.fallscityonline.com/history.html Falls City Journal] . J. N. "Ding" Darling, Pulitzer Prize winning cartoonist of the Des Moines Register, saw some of Falter’s cartoons and said he should become an illustrator.

Sure enough, after graduating from high school in 1928, Falter studied at the Kansas City Art Institute and won a scholarship to the Art Students League of New York City. Falter only lasted one month at the Art Students League, however, due to his fear of his fellow students, many of whom were avowed Communists. This was all too new for the small-town Falter, who fled and immediately looked for work as an illustrator. In the evenings, however, he took courses at the Grand Central Art School, above Grand Central Station. This was during the Great Depression when most young artists had difficulty finding work. Falter, however, began illustrating covers for the "pulp" magazines.

He eventually opened a studio in New Rochelle, New York, which had long been a colony for illustrators, a community that included such artists as Frederic Remington and Norman Rockwell. Indeed, Falter once commented, "Rockwell was our inspiration then. I didn't meet him until years later. We would hear that Rockwell had been out on the street and we'd all rush out and hunt for him. If they'd tell us that he had looked in a shop window, we'd look in the same window trying to absorb what he looked at by osmosis." [http://monet.unk.edu/mona/first/falter/falter.html]

On to Advertising

Falter received a major break with his first commission from [http://www.retrogalaxy.com/culture/liberty/page-01.asp "Liberty Magazine"] to do three illustrations a week in 1933. "They paid me $75 a week," Falter said, "just like a steelworker. But my expenses for models and costumes were running $35 a week during one 16-week serial I was illustrating." Falter soon discovered that there was much more money to be made in advertising than in other fields of illustration. By 1938, he had acquired several advertising clients including Gulf Oil, Four Roses Whiskey, Arrow Shirts, and Pall Mall. Falter's work appeared in major national magazines. "This was high pay for less work," Falter said, "and it gave me a chance to experiment in the field of easel painting."

World War II

In 1943, he enlisted in the Navy and was rapidly promoted from chief boatswain's mate to lieutenant on special assignment as an artist. His final rank was Chief Petty Officer. His talents were applied to the American war effort to spur on recruiting drives. Falter designed over 300 recruiting posters. One popular Falter poster dealt with the loose-lips-sink-ships theme. It showed a broad-shouldered Navy man with the caption, "If you tell where he's going, he may never get there." During this period, he also completed both a series of recruiting posters for the women's Navy, or WAVES, and a series depicting twelve Medal of Honor winners for "Esquire" magazine. [http://query.nytimes.com/gst/fullpage.html?res=9905E7DF1038F936A15756C0A964948260]

"Saturday Evening Post"

Falter's first "Saturday Evening Post" cover, a portrait of the magazine's founder, Benjamin Franklin, is dated September 1, 1943. That cover began a 25-year relationship with the "Post", during which Falter produced over 120 covers for the magazine until the editors changed its cover format from illustrations to photographs. [http://www.findarticles.com/p/articles/mi_m1189/is_n4_v263/ai_10664632] Falter commented, "There were plenty of Rockwell imitators and J. C. Leyendecker imitators. My main concern in doing "Post" covers was trying to do something based on my own experiences. I found my niche as a painter of Americana with an accent of the Middle West. I brought out some of the homeliness and humor of Middle Western town life and home life. I used humor whenever possible." Of Falter's 120-odd covers, nearly all were his own ideas. "Four didn't make it," he said, "probably 12 ideas were supplied by the "Post"." Many of his friends acted as models for his covers -- for example, four of the covers depict his close friend, the famous radio, stage and movie actor J. Scott Smart.

Falter said that what he tried to accomplish was "to put down on canvas a piece of America, a stage set, a framework for the imagination to travel around in." His panoramic covers with long views of people were a major departure from the "Post's" customary close-up designs. In fact. Norman Rockwell himself adjusted to the newer style for a time, which he later referred to as his "Falter Period."

Falter once thought that the "Post" would provide him with lifetime employment. "I was sort of going along on a ship that would never sink," he said. “It seemed that nothing could possibly happen to the "Post". Then suddenly, in my middle life, I had to retool and give up my horse for a car." Falter was forced to spend much of his savings in the months that followed the demise of the "Post". [http://monet.unk.edu/mona/first/falter/falter.html]

Portraits and Book Covers

John Falter was a creative man who understood the value of discipline and knew that, without it, inspiration perished. Although best known for his "Saturday Evening Post" covers, Falter also provided illustrations for numerous other publications, including "Esquire", "Good Housekeeping", "Cosmopolitan", "McCall's", "Life Magazine", and "Look". [http://www.nebraskahistory.org/lib-arch/research/treasures/john_falter.htm]

Falter was a prolific artist who depicted a wide range of subject matter in a variety of media. As television eliminated many national magazines in the 1950s and 1960s, Falter turned to portrait painting and book illustration. He illustrated over forty books, and one of his favorite projects was illustrating a special edition of Carl Sandburg's "Abraham Lincoln - The Prairie Years". Other favorite book projects included the Houghton-Mifflin Mark Twain series, and illustrations for The Scarlett Pimpernell. Also, his stepson, Jay Wiley (who took the photograph of Falter in his studio shown at the top of this page) posed for a book Falter illustrated, titled 'Me 'n Steve." A final favorite was humorist Corey Ford's "The Horse of a Different Color".

Falter produced a body of work impressive in volume and variety of subject. Reflecting a lifelong interest in jazz, he did scenes of Harlem nightclub life in the 1930s, and later on, portraits of famous jazz musicians. An excellent portrait painter, Falter had Clark Gable, James Cagney, Olivia de Havilland, and Admiral "Bull" Halsey among his sitters. Falter was also an accomplished jazz clarinet player, and entirely self-taught. He took great pleasure in visiting jazz friends he sketched live, only to sit in with them in a set after sketching at clubs such as Eddie Condon's on W. 52nd St in New York City.

The 1970s and 1980s

During the 1970s and 1980s, after a career crisis brought on by the end of illustrated magazines, Falter turned to historical and American western themes - a passion of his. The 3M Company commissioned him to do a series of six paintings in celebration of the American Bicentennial, titled From Sea to Shining Sea. Falter completed over 200 paintings in the field of western art, with emphasis on the westward migration of 1843 to 1880 from the Missouri River to the Rocky Mountains. He was honored by his peers with election to the [http://stage.societyillustrators.org/honors/hof/index.cms Illustrators Hall of Fame] in 1976, and membership in the National Academy of Western Art in June 1978.

When Falter was asked to look back over his career, he commented that he had never painted a painting that he wouldn't like to paint over again; he always saw something he thought he could improve on. His output was prodigious, and by his own reconning included over 5,000 paintings, many of which hang in museums [http://www.askart.com/AskART/artists/search/Search_Grid.aspx?searchtype=MUSEUMS&artist=7257] and eminent collections. [http://www.findarticles.com/p/articles/mi_m1189/is_n4_v263/ai_10664632]

In 1980 a documentary video, "A From From the Standpipe: John Falter's World", was released by Nebraska Educational Television. [http://www.netche.org/catalog/search2.cfm?ID=851 This video provides more information about John's work, through one-on-one interviews in his Philadelphia location and shows a number of his paintings. ] Some of these examples of Falter's personal paintings are not often seen by the general public. These paintings are different from his usual subjects and often contain humorous partially hidden touches not seen on first viewing. The video features one example, "The Big Spender", which is a beautiful Vermeer-like still-life of a dinner plate, crystal glass and linen napkin, with a dime by the plate on a table, and you can barely see a huge fly coming into the frame heading for the plate.

John Falter died in May, 1982, at the age of 72, at the University of Pennsylvania Hospital in Philadelphia after suffering a stroke. He had been living in the Chestnut Hill section of Philadelphia. [http://query.nytimes.com/gst/fullpage.html?res=9905E7DF1038F936A15756C0A964948260] After his death, Falter's widow, Mary Elizabeth Falter, donated memorabilia from his studio, as well as several paintings and papers to the [http://www.nebraskahistory.org/lib-arch/research/treasures/john_falter.htm Nebraska State Historical Society] . This material reflects Falter's career from 1930 to 1982. [http://www.nebraskahistory.org/lib-arch/research/treasures/john_falter.htm]

His daughter, Suzanne Falter-Barns [http://www.howmuchjoy.com] , is an author and maintains a web-based business coaching others to fulfill their creative dreams. His stepson, Jay Wiley, is a Senior Staff Photographer with Merion Publications Inc. . His stepdaughter, Lisa Waitneight, is a homemaker and his other stepdaughter, Sarah Johansen, is a homemaker as well.

ee also

*Museum of Nebraska Art
*Saturday Evening Post

External links

* [http://monet.unk.edu/mona/ Museum of Nebraska Art] , Kearney, Nebraska