David M. Levine (edit name/settings)

David Levine (December 20, 1926 – December 29, 2009)<1> was an American artist and illustrator best known for his caricatures in The New York Review of Books. Jules Feiffer has called him "the greatest caricaturist of the last half of the 20th Century".<2>
Early life and education
Levine was born in Brooklyn, where his father Harry ran a small clothing factory. His mother, Lena, was a nurse and political activist who had Communist sympathies. He began to draw as a child, displaying a precocious talent that, at the age of nine, won him an invitation to audition for an animator's position in Disney's Los Angeles Studios.<3>

Levine later studied painting at Pratt Institute, at Temple University's Tyler School of Art in Philadelphia in 1946, and with Hans Hofmann.<2> Immediately following World War II, Levine served in the U. S. Army. After his service, he graduated from Temple with a degree in education and completed his studies at its Tyler School.<1>

<edit> Career
Levine initially hoped to be a full-time painter, but was often forced to subsist on illustration work from publications like Gasoline Retailer. Nevertheless, he turned out a body of paintings, although many of these were destroyed in a fire in 1968.<2> Levine's paintings are mostly watercolors that often depict garment workers, honoring his father’s employees, and bathers at Coney Island. The paintings, in contrast to his illustrations, are "sympathetic portraits of ordinary citizens, fond and respectful renderings of the distinctive seaside architecture, panoramas with people on the beach."<1> Levine, together with Aaron Shikler founded the Painting Group in 1958, a salon of artists with whom he gathered for fifty years to paint models. The group was the subject of a 2007 documentary called Portraits of a Lady, which followed their creation of simultaneous portraits of U. S. Supreme Court Justice Sandra Day O’Connor.<1>

A job at Esquire in the early 1960s saw Levine develop his skills as a political illustrator.<2> His first work for The New York Review of Books appeared in 1963, just a few months after the paper was founded.<4> Subsequently, he drew more than 3,800 pen-and-ink caricatures of famous writers, artists and politicians for the publication.<5> Levine would review a draft of the article to be illustrated, together with photos or other images sent by the staff of the Review. Within a few days, he would return a finished drawing that caught "a large fact about his subject's character"; "his brilliance lay in weaving <the article's> ideas with his own".<4> Only about half of Levine's caricatures were created for the Review. Other work has appeared in Esquire (over 1,000 drawings), The New York Times, The Washington Post, Rolling Stone Magazine, Sports Illustrated, New York Magazine, Time, Newsweek, The New Yorker, The Nation, Playboy, and others.<2> As a caricaturist for these publications, Levine distinguished his process from that of political cartoonists: "I could take time to really look it over and think about it, read the articles and so on. The political cartoonists don't get a chance. The headlines are saying this and this about so-and-so, and you have to come up with something which is approved by an editor. I almost never had to get an approval. In forty years I may have run into a disagreement with The New York Review maybe two times.<6>

Levine's work has been exhibited extensively in galleries and museums around the world, and several collections of his paintings and drawings have been published by the Review and elsewhere. In 2008, he published a book, American Presidents, featuring his drawings of U.S. Presidents over five decades,<7> which was also the basis for an exhibit at the New York Public Library.<1>

<edit> Reputation
John Updike, whom Levine drew many times, wrote in the 1970s: "Besides offering us the delight of recognition, his drawings comfort us, in an exacerbated and potentially desperate age, with the sense of a watching presence, an eye informed by an intelligence that has not panicked, a comic art ready to encapsulate the latest apparitions of publicity as well as those historical devils who haunt our unease. Levine is one of America's assets. In a confusing time, he bears witness. In a shoddy time, he does good work."<5>

The New York Times described Levine's illustrations as "macro-headed, somberly expressive, astringently probing and hardly ever flattering caricatures of intellectuals and athletes, politicians and potentates" that were "heavy in shadows cast by outsize noses on enormous, eccentrically shaped heads, and replete with exaggeratedly bad haircuts, 5 o’clock shadows, ill-conceived mustaches and other grooming foibles ... to make the famous seem peculiar-looking in order to take them down a peg". The paper commented: "His work was not only witty but serious, not only biting but deeply informed, and artful in a painterly sense as well as a literate one."<1> Levine drew his most frequent subject, former president Richard M. Nixon, 66 times, depicting him as, among other things, the Godfather, Captain Queeg, and a fetus.

According to Vanity Fair, "Levine put together a facebook of human history ... the durability of those Levine depicted, plus the unique insight with which he drew them, guarantees the immortality of his works". Levine's work, taken as a whole, had a leftwing bent, and he claimed still to be a Communist, although people of all political persuasions came in for the same acid treatment in Levine's caricatures. Levine said that "by making the powerful funny-looking ... he might encourage some humility or self-awareness".<2> Levine also described his purpose as follows: "Caricature is a form of hopeful statement: I'm drawing this critical look at what you're doing, and I hope that you will learn something from what I'm doing."<6>

<edit> Last years and death
In 2006, Levine was diagnosed with macular degeneration, an eye disease that leads to blindness. While the Review continued to run Levine's older work, no new work appeared there since April 2007.<2>

On December 29, 2009, Levine died at New York Presbyterian Hospital at the age of 83. His death was caused by prostate cancer and a number of subsequent illnesses. He was survived by his second wife, Kathy Hayes (whom he married in 1996), two children, Matthew and Eve, two stepchildren, Nancy and Christopher Rommelmann and grandchildren.<1
David Levine, Biting Caricaturist, Dies at 83
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Published: December 29, 2009
David Levine, whose macro-headed, somberly expressive, astringently probing and hardly ever flattering caricatures of intellectuals and athletes, politicians and potentates were the visual trademark of The New York Review of Books for nearly half a century, died Tuesday in Manhattan. He was 83 and lived in Brooklyn.

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The Work of David Levine
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ArtsBeat: Video: David Levine on His Political Drawings (December 29, 2009)
An Appraisal: Starting With Lines, but Ending With Truth (December 31, 2009)
Insight by a Thousand Strokes (January 3, 2010)
The Web Site for David Levine

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David Levine on the beach at Coney Island, around 1974. More Photos >
His death, at New York Presbyterian Hospital, was caused by prostate cancer and a subsequent combination of illnesses, his wife, Kathy Hayes, said.

Mr. Levine’s drawings never seemed whimsical, like those of Al Hirschfeld. They didn’t celebrate neurotic self-consciousness, like Jules Feiffer’s. He wasn’t attracted to the macabre, the way Edward Gorey was. His work didn’t possess the arch social consciousness of Edward Sorel’s. Nor was he interested, as Roz Chast is, in the humorous absurdity of quotidian modern life. But in both style and mood, Mr. Levine was as distinct an artist and commentator as any of his well-known contemporaries. His work was not only witty but serious, not only biting but deeply informed, and artful in a painterly sense as well as a literate one; he was, in fact, beyond his pen and ink drawings, an accomplished painter. Those qualities led many to suggest that he was the heir of the 19th-century masters of the illustration, Honoré Daumier and Thomas Nast.

Especially in his political work, his portraits betrayed the mind of an artist concerned, worriedly concerned, about the world in which he lived. Among his most famous images were those of President Lyndon B. Johnson pulling up his shirt to reveal that the scar from his gallbladder operation was in the precise shape of the boundaries of Vietnam, and of Henry Kissinger having sex on the couch with a female body whose head was in the shape of a globe, depicting, Mr. Levine explained later, what Mr. Kissinger had done to the world. He drew Richard M. Nixon, his favorite subject, 66 times, depicting him as the Godfather, as Captain Queeg, as a fetus.

With those images and others — Yasir Arafat and Ariel Sharon in a David-and-Goliath parable; or Alan Greenspan, with scales of justice, balancing people and dollar bills, hanging from his downturned lips; or Chief Justice John G. Roberts Jr. carrying a gavel the size of a sledgehammer — Mr. Levine’s drawings sent out angry distress signals that the world was too much a puppet in the hands of too few puppeteers. “I would say that political satire saved the nation from going to hell,” he said in an interview in 2008, during an exhibit of his work called “American Presidents” at the New York Public Library.

Even when he wasn’t out to make a political point, however, his portraits — often densely inked, heavy in shadows cast by outsize noses on enormous, eccentrically shaped heads, and replete with exaggeratedly bad haircuts, 5 o’clock shadows, ill-conceived mustaches and other grooming foibles — tended to make the famous seem peculiar-looking in order to take them down a peg.

“They were extraordinary drawings with extraordinary perception,” Jules Feiffer said in a recent interview about the work of Mr. Levine, who was his friend. He added: “In the second half of the 20th century he was the most important political caricaturist. When he began, there was very little political caricature, very little literary caricature. He revived the art.”

David Levine was born on Dec. 20, 1926, in Brooklyn, where his father, Harry, ran a small garment shop and his mother, Lena, a nurse, was a political activist with Communist sympathies. A so-called red diaper baby, Mr. Levine leaned politically far to the left throughout his life. His family lived a few blocks from Ebbetts Field, where young David once shook the hand of President Franklin D. Roosevelt, who became a hero, as did his wife, Eleanor. Years later, Mr. Levine’s caricature of Mrs. Roosevelt depicted her as a swan.

“I thought of her as beautiful,” he said. “Yet she was very homely.”

As a boy he sketched the stuffed animals in the vitrines at the Brooklyn Museum. He served in the Army just after World War II, then graduated from Temple University in Philadelphia with a degree in education and another degree from Temple’s Tyler School of Art. He also studied painting at Pratt Institute in Brooklyn, and with the Abstract Expressionist painter and renowned teacher Hans Hofmann.

Indeed, painting was Mr. Levine’s first love; he was a realist, and in 1958 he and Aaron Shikler (whose portrait of John F. Kennedy hangs in the White House) founded the Painting Group, a regular salon of amateurs and professionals who, for half a century, got together for working sessions with a model. A documentary about the group, “Portraits of a Lady,” focusing on their simultaneous portraits of Justice Sandra Day O’Connor, was made in 2007; the portraits themselves were exhibited at the National Portrait Gallery.

Mr. Levine’s paintings, mostly watercolors, take as their subjects garment workers — a tribute to his father’s employees, who he said never believed that their lives could be seen as connected to beauty — or the bathers at his beloved Coney Island. In a story he liked to tell, he was painting on the boardwalk when he was approached by a homeless man who demanded to know how much he would charge for the painting. Mr. Levine, nonplussed, said $50.

“For that?” the man said.

The paintings are a sharply surprising contrast to his caricatures: sympathetic portraits of ordinary citizens, fond and respectful renderings of the distinctive seaside architecture, panoramas with people on the beach.

“None of Levine’s hard-edged burlesques prepare you for the sensuous satisfactions of his paintwork: the matte charm of his oil handling and the virtuoso refinement of his watercolors,” the critic Maureen Mullarkey wrote in 2004. “Caustic humor gives way to unexpected gentleness in the paintings.”

Mr. Levine’s successful career as a caricaturist and illustrator took root in the early 1960s, when he started working for Esquire. He began contributing cover portraits and interior illustrations to The New York Review of Books in 1963, its first year of publication, and within its signature blocky design his cerebral, brooding faces quickly became identifiable as, well, the cerebral, brooding face of the publication. He always worked from photographs, reading the accompanying article first to glean ideas.

“I try first to make the face believable, to give another dimension to a flat, linear drawing; then my distortions seem more acceptable,” he said.

From 1963 until 2007, after Mr. Levine received a diagnosis of macular degeneration and his vision deteriorated enough to affect his drawing, he contributed more than 3,800 drawings to The New York Review. Over the years he did 1,000 or so more for Esquire; almost 100 for Time, including a number of covers (one of which, for the 1967 Man of the Year issue, depicted President Johnson as a raging and despairing King Lear); and dozens over all for The New Yorker, The New York Times, The Washington Post, Rolling Stone and other publications.

Mr. Levine’s first marriage ended in divorce. Besides Ms. Hayes, his partner for 32 years whom he married in 1996, he is survived by two children, Matthew, of Westport, Conn., and Eve, of Manhattan; two stepchildren, Nancy Rommelmann, of Portland, Ore., and Christopher Rommelmann, of Brooklyn; a grandson, and a stepgranddaughter.

“I might want to be critical, but I don’t wish to be destructive,” Mr. Levine once said, explaining his outlook on both art and life. “Caricature that goes too far simply lowers the viewer’s response to a person as a human being.”

Thousands of caricatures and hundreds of oil and watercolor paintings have flowed from David Levine's mind and hands, his pencils, pens and brushes for more than 50 years. Born in Brooklyn, New York, in 1926, Levine was trained by his parents to question authority and to love the underdog. He learned from professors and colleagues at the Tyler School of Art in Philadelphia to extract technique and theory from artists throughout history.

The result: For decades he's been acknowledged worldwide as the most devastatingly insightful caricaturist since Daumier. His examinations of human flaws and foibles express a central passion. "I love my species," says Levine.

According to John Updike: "Besides offering us the delight of recognition, his drawings comfort us, in an exacerbated and potentially desperate age, with the sense of a watching presence, an eye informed by an intelligence that has not panicked <…>. Levine is one of America's assets. In a confusing time, he bears witness. In a shoddy time, he does good work."

"The paintings of David Levine are never bombastic," says Pete Hamill. "They are seldom only about the thing or the place to the people directly observed. They are also about the unseen world that they suggest, a world of time and nostalgia, of things and people lost. If David Levine was a writer he would be Chekhov."

David Levine was born in Brooklyn, New York in 1926 and studied at the Brooklyn Museum of Art School, Pratt Institute, the Tyler School of Art at Temple University in Philadelphia and the Eighth Street School of New York with Hans Hoffman. His many awards include the Louis Comfort Tiffany Foundation Award in 1955 and, later, the Isaac Maynard, Julius Hallgarten and Thomas B. Clarke awards (all from the National Academy of Design), the George Polk Memorial Award, a Guggenheim Fellowship, the Childe Hassam Purchase Prize (American Academy of Arts and Letters), the John Pike Memorial Prize and the Gold Medal of the American Academy and Institute of Arts and Letters in 1993. Internationally, David Levine has received the French Legion of Honor award and the Thomas Nast Award in Landau, Germany.

Levine exhibited paintings with the Davis Gallery in New York from 1954 to 1963, then joined the Forum Gallery. In addition to 15 one-person exhibitions at Forum, David Levine has had exhibitions in Paris, Stuttgart, Washington, Munich, Oxford (England), Beverly Hills and Columbus, Georgia.

Levine's caricatures have been seen in Time, Newsweek, Esquire, Playboy, The New Yorker, New York Magazine, The Nation and, for over 40 years, The New York Review of Books as well as in numerous solo and group shows.

His caricatures and paintings are part of permanent collections at the Metropolitan Museum, NY, the Library of Congress, Washington D.C., the Cleveland Museum, the National Portrait Collection, England's National Portrait Gallery and the Pierpont Morgan Library, NY.

Six books have been published of David Levine’s art, including The Arts of David Levine (Knopf, New York, 1978) and Pens and Needles (Gambit, Boston, 1969). David Levine lives and works in Brooklyn, New York.