Lorraine
Fox was a pioneering female Illustrator/artist who championed a unique
style immediately identified as hers. This work, in two parts, was most
likely for a newsstand woman's magazine. It has a simple, naive style
that charms the viewers' eyes. Signed on both in pencil lower right.
Unframed - Each work is 7.65 x 5.65 in dimension

Lorraine Fox - from Illustration History
Biography - Entry written by Bailey Pfohl, 2016 Walt Reed Distinguished Scholar Intern

At the height of her career, Lorraine Fox (1925-1976) was described
as “an elegant, quiet woman, highly imaginative, gifted in design and a
standout artist in a field overbearingly populated by men.”[1] These
words describe Fox’s legacy to this day.

Born and raised in Brooklyn, New York, Lorraine and her brother,
Gill, were encouraged wholeheartedly to pursue art at early ages. Thanks
to their mother, who took up a job as a housecleaner to help pay for
their schooling, both went on to successful careers in illustration, he
becoming a noted comic book artist, and she becoming an illustrator.

Lorraine attended the Pratt Institute of Art and graduated in 1944.
While there, she met aspiring artist, Bernard D’Andrea, who she
eventually married in 1951. That same year, Fox entered the Charles E.
Cooper studio, where she was not only one of the very few women artists,
but also possessed a unique artistic style that challenged the ideals
of feminine beauty as portrayed in commercial art, which historically
had been determined by men. In her early years at the studio she quickly
claimed a place for herself in the crowded field and became an
increasingly known illustrator whilst remaining busy with diverse work
for books, covers, magazines, and advertisements. Some of the magazines
that printed her illustrations included Woman’s Day, Redbook, Seventeen,
Pfizer Spectrum, and Sports Illustrated.

Fox’s early style prioritized illustration that maintained a
significant emphasis on design. In an interview, her artist friend
Murray Tinkelman called her work “decorative illustration.” Fox’s
designs recalled folk art, in contrast to the modern, retro style that
was prevalent in contemporary commercial work.

In 1961, Fox returned to classes part-time at the Brooklyn Museum Art
School for a duration of five years under Reuben Tam, which ended up
being a transformative experience for Fox and her art. Tam encouraged
his students to find their own originality, believing that this would
naturally lead them to paint to their best and truest abilities. Already
an artist with a distinct style, Fox worked hard to find her identity,
even though that meant straying from the one she had initially worked
in, which had already been widely accepted. Of her training she
recounted: “He [Reuben Tam] never told us, ‘This is the way...’ He knew,
of course, that the search has to come from you, the way you live,
dream, the way your senses respond to eating, sleeping, drinking, the
movies, whatever is affecting you. Everybody has the potential for
originality once they learn about themselves.”[2] During her time at the
Brooklyn Museum Art School, Fox’s art took what some critics considered
to be a more mature turn. Her style continued to evolve until her last
working days.

Before her studies with Tam, Fox’s early work focused largely on
traditionally feminine themes that lent themselves well to magazines
like Better Homes and Gardens, and later, Woman’s Day, Seventeen, Good
Housekeeping, Cosmopolitan, The Ladies’ Home Journal, Redbook, and
McCall’s. Later in her career, when her content shifted to more mature
themes, she moved away from design-driven aspects, in favor of
narrative, surreal, and even expressionist approaches. This difference
can be best seen in the illustrations of "Pastry and Pies" and
"Midsummer Night’s Dream," included at the end of this essay.

Fox exhibited her work frequently at The Society of Illustrators and
the Philadelphia Art Directors Club exhibitions, the Brooklyn Museum,
New York City Center Gallery, and the Silvermine Guild New England Show.

By then a prolific artist, Fox taught at the Parsons School of Design
in New York City, and was a teacher and member of the Famous Artists
School in Westport, Connecticut. In 1979, she was the first female ever
to be inducted into the Society of Illustrators’ Hall of Fame, finally
recognized for her artistic contributions and role in paving the way for
other female practitioners.

The New School and Smithsonian Archives of American Art house her
papers in their archives. There is also a significant collection of her
magazine clippings in the Norman Rockwell Museum archive.