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The artwork is done in pencil and ink, with some areas highlighted in blue, typical of Caprioli's style for this series. Caprioli's illustrations for "Moby Dick" are known for their detailed linework and expressive character portrayals, capturing the mood and atmosphere of the story.
Franco Caprioli is an Italian author and illustrator who created a comic book adaptation of Herman Melville's "Moby Dick" titled "Moby Dick - La balena bianca"
सई परांजपे , लोकसत्ता, जानेवारी २०१४:
"... शकुंतला परांजपे हे नाव ती लेखिका असल्यामुळे परिचित असले तरी माझ्या मते तिची खरी ओळख तिने संततिनियमनाच्या क्षेत्रात केलेल्या कामगिरीमुळे नोंदवली जावी. रघुनाथ धोंडो कर्वे हे आईचे दूरचे चुलतभाऊ. (अप्पा आणि भारतरत्न महर्षी धोंडो केशव कर्वे हे सख्खे आते-मामेभाऊ!) पण नाते जरी दोन चुलींपलीकडचे होते, तरी कर्वे-परांजपे जवळीक दाट होती. कर्वे तेव्हा समाजात संततिप्रतिबंधाचा प्रचार करण्याच्या प्रयत्नांत होते. पण ते बरेचसे अरण्यरुदन होते. कारण तो विषयच तेव्हा अप्रिय होता. तेव्हा कुणी त्यांचा उपदेश आचरण्याचे तर सोडाच; पण ऐकण्याच्याही मन:स्थितीत नव्हते. एकदा ते आईला म्हणाले, ‘‘या कामाचा खरं तर स्त्रियांच्यात प्रचार व्हायला हवा. पण त्यासाठी एखादी खंबीर बाई उभी राहिली पाहिजे. तू करशील का हे काम?’’
‘‘अप्पांना विचारून सांगते,’’ असे तिने उत्तर दिले. अप्पांनी तात्काळ संमती दिली. म्हणाले, ‘‘हे कार्य अतिशय निकडीचे आहे. प्रजा अशीच बेसुमार वाढत राहिली तर देशात फार कठीण परिस्थिती ओढवणार आहे.’’ मग आईने या खडतर कार्याचा श्रीगणेशा केला. अर्थात् मार्गदर्शक आणि गुरू र. धों. कर्वे होते. .."
This cartoon was published during James Thurber’s early years as a regular contributor to The New Yorker, where he worked as both writer and artist. By the early 1930s, his cartoons had begun to appear with some frequency, helping to define the magazine’s tone: understated, literary, and visually unconventional.
The drawing is a typical example of Thurber’s style. His characters are rendered with minimal, almost primitive lines—an aesthetic shaped in part by his declining vision. Thurber lost most of the sight in one eye during a childhood accident, and his eyesight continued to deteriorate throughout his life. As a result, many of his cartoons were drawn in black crayon or pencil on oversized paper, then resized for publication by the magazine’s art department.
This cartoon uses a simple two-character scene with a visual absurdity—the seal on the headboard—introduced without narrative buildup. That approach was common in Thurber’s work. He frequently combined ordinary domestic scenarios with surreal elements, often leaving their presence unexplained. These cartoons appeared alongside his essays and short fiction, contributing to his reputation as one of the defining voices of The New Yorker in its formative decades.
courtesy: cartoonstock.com
कलाकार : स्व रघुवीर मुळगावकर (१९१८- १९७६), वाङ्मय शोभा मुखपृष्ठे , १९५१
सौजन्य : स्व रघुवीर मुळगावकर यांच्या कलाकार्याचे कॉपीराईट होल्डर्स
१८८६ साली कृष्णाजी
नारायण आठल्ये यांनी
कोचीनमध्ये 'केरळ कोकीळ'
नावाचे मासिक सुरू
केले, ज्याचा उद्देश
सामान्य मराठी वाचकांना
विविध विषयांची आवड
निर्माण करणे हा होता.
Wikipedia:
“The Farrah Fawcett (1947-2009) red swimsuit poster shows a photograph of the American model and actress Farrah Fawcett taken by the American photographer Bruce McBroom in 1976. It was commissioned by the Pro Arts poster company, which published it as a pin-up poster the same year. With more than twelve million copies sold, it is considered the best-selling poster to date and is said to be a modern icon and a symbol of the late 1970s.”
Photo by
In 2003, the communication scientist Chadwick Roberts published an essay about the Fawcett poster and its significance for social developments in the United States. He noted a change in feminine beauty ideal. Compared to the pin-up photographs of the 1940s, Fawcett's hips were narrow, and her breasts were small. While the models of the 1940s had button noses, her nose was long, thin, and prominent. In comparison with Mae West and Marilyn Monroe, for example, Fawcett showed a restrained way of being sexy. Fawcett's abundant unbound hair contrasted the androgynous style of the late 1960s and early 1970s. According to Roberts, she thus represented a new style of the all-American girl, and the presentation of her nipples and the inner part of her thigh, which was avoided in the 1940s, indicated a change in morality in the United States.
Roberts also noted a difference between Fawcett and Monroe in how their star images were created. While men made Monroe's, Fawcett was in control of her image."
Anirudha Bhattacharjee & Balaji Vittal, ‘Gaata Rahe Mera Dil: 50 Classic Hindi Film Songs’:
“EVEN during the ‘glorious sixties’, there was something about the years 1964 and ’65. They saw the release of Laxmikant–Pyarelal’s Dosti, Roshan’s Chitralekha, Shankar– Jaikishan’s Sangam, O.P. Nayyar’s Kashmir Ki Kali, Naushad’s Leader, Khayyam’s Shagoon, Kishore Kumar’s Door Gagan Ki Chhaon Mein, Chitragupta’s Ganga Ki Lehrein, Ramlal’s Geet Gaya Pattharon Ne and Hemant Kumar’s Kohra….
...‘Chain se hamko’ is one of the best examples of his melody. Asha has said, in various interviews, that Nayyar had used the bass aspect of her voice to great effect, and surely this song, starting on Pa and spiralling to Sa on the Madhya saptak as the last note of the mukhra, is a prime example. Composed in C sharp scale, the song does not go beyond the lower Sa on the Taar Saptak, while there is the ephemeral use of the Komal Ga and the Teevra Madhyam in the second antara, adding a little drama to the melody that could pass as a lullaby had it not been for the sense of deep pain.”
अशोक दा. रानडे ओ पी नय्यर यांच्या वर विस्ताराने (पृष्ठ २१७-२२२) त्यांच्या 'हिंदी चित्रपटगीत : परंपरा आणि अविष्कार", २०१० मध्ये लिहतात. त्यातील छोटा भाग सोबत.
