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“They were very curvy, pretty women,” says pin-up dealer Marianne Ohl Phillips, who interviewed both Zoë Mozert and Joyce Ballantyne before they died. From what we know about these women, it seems that female pin-up artists of the Golden Age bought into the most exclusive standard of beauty. Others divide the world into the beautiful people and the rest of us. Her pretty face, with an occasionally coquettish expression, telegraphed childlike sweetness and a lack of real awareness of the pornographic thoughts she inspired, dancing on the edge of the virgin-whore complex.

Pearl Frush’s story

Esquire was considering me as a replacement for Vargas and Petty.” While Smart did commission more paintings from her, eventually buying 12 of them, none ever ran in the publication. “’Those lips you’d love to kiss’ in many of Zoe’s early paintings are really the lips of her brother,” Phillips wrote. Her brother was also her favorite lip model, for images of women. Men were easy to come by; and my paintings were my children.” As a result, Meisel says, many pin-up paintings got stashed away in attics and basements. This Ballantyne is a rare woman-painted pin-up featuring black stockings, garter belt, and heels.

Pearl Frush’s story

Ballantyne’s husband died of lung cancer in 1985. A rare male pin-up (possibly based on Ballantyne’s https://sblouin.com/ husband, Jack Brand) for one of Ballantyne’s Artist Sketch Pad pages. She posed Cheri, who was 3 years old then, in the backyard, snapped some photos, and drew the image. “I didn’t go in for dirty stuff like they do today. Her 1955 calendar was such a hit that it had to be reprinted multiple times.

Zoë Mozert’s story

The founder of Meisel Gallery in New York City, Meisel says he helped establish photorealism as a collectible genre of painting. Magazine #3 in 1995, Phillips asserts, “It is infinitely logical that these exquisite creatures were painted by a female. Usually, she painted a different face, but she used her own body.

But her biggest break came when the Shaw-Barton calendar company hired her in 1954, when she was 36, to paint a 12-page calendar. Like her friend and colleague Gil Elvgren, Ballantyne specialized in putting girls in accidentally sexy situations. Her first cover image was of a voluptuous mermaid, modeled after herself, pranking fishermen by putting a tire on their hooks.

Pearl Frush’s story

“She always lived as if everything was a headline,” says Phillips, which seems like the right fit for a woman who briefly joined a circus. “Her property was worth a fortune, but the house wasn’t,” says Phillips, who called the state to alert them to the historical treasures inside. “It’s a shame nobody wanted to hang up pictures of beautiful men in their garages.”

Pearl Frush’s story

“Gil Elvgren, the most important pinup artist of all time, was very good friends with Ballantyne, and they actually posed for each other,” Meisel says. ‘My whole house is my ashtray.’ She gazed across the table at me through giant pink eyeglasses and the haze pin up casino india of cigarette smoke. In 1943, the 36-year-old moved to Hollywood with her husband (the second of her four short-lived marriages). He said, ‘What’s a cute, little thing like you doing in the calendar-art business?

Pearl Frush’s story

Paramount Pictures decided to include her in a film series called “Unusual Occupations,” with a short called “Zoe” about “the pin up girl who paints ’em too.” While Mozert often painted her own body, Sunny would typically pose for the faces. When the art director of the nation’s biggest calendar company, Brown & Bigelow, saw her nude painting at the gallery, he sought her out to offer her a contract. “James Montgomery Flagg, the artist who painted that ‘Uncle Sam Wants You’ poster, was also a judge.

I guess I enjoyed it more than most children because I kept at it and was soon begging my mother for paints, modeling clay, etc. When applying for a job at Brown & Bigelow, she wrote, “I started drawing, like most children, as soon as I could hold a crayon. In their book, Meisel and Martignette explain that her tendency to paint in watercolor and gouache made it difficult reproduce those works in large numbers. Cheri and her husband moved into the top floor of her building to take care of the artist, who kept drinking her evening martini and smoking cigarettes until her death in 2006.

Zoë Mozert’s story

She told Klinkenberg, “I’d go to a paint store for supplies and would literally find a sign on the door that said, “Gone Fishing.’ I didn’t think I’d be here long.” Ballantyne won the job in 1959 and created the image of a pig-tailed girl who finds a dog pulling down her swim trunks, which was loosely based on an idea by pin-up artist Art Frahm. She’s a nice girl, she’s innocent, but maybe she got caught in an awkward situation that’s a little sexy.” Often she used herself as a model, gazing into the mirror while painting a buxom doll who later would be admired in a greasy garage by drooling auto mechanics.” Mozert kept painting until 1985, when she injured her shoulder in a fall. During World War II, Mozert painted Victory Girls for Mutoscope cards meant to be sent to soldiers fighting overseas.

“It was about getting a little house in Levittown and bringing up their two or three kids. But you know, I could never paint a picture like they had me set up. They first appeared in men’s magazines and break-room calendars in the 1920s and 1930s. “She was an icon for women in a man’s world, especially when it came to her pin-ups.”

At this point, she was at the height of her career, producing almost startling photorealistic images. She would also sometimes sign her work “Pearl Frush Mann.” Applying to Brown & Bigelow that year, she wrote, “I didn’t turn out to be much of a musician, but I married one. Frush loved swimming, so she painted a lot of water-sports scenes, enough for a whole Aqua Tour calendar. This Pearl Frush painting in particular calls to mind the work of Alberto Vargas.

I would say that the women portray very beautiful, idealized women, but the images are less erotic. But they themselves matched the WWII-era ideal, so they didn’t mind painting fellow members of “beautiful people” club. “The ‘lips you’d love to kiss’ in Zoe’s early paintings are the lips of her brother.” “Altogether I don’t think there are a hundred images of Pearl Frush around the world,” Meisel says, musing that she didn’t get the chance to do enough. In the 1960s, Robberson Steel Company of Oklahoma City was so happy with their Frush advertising calendars from Gerlach-Barklow, they commissioned her to do a series of glamour paintings, the last one in 1974.

This success led to gigs making more sexy calendars for Louis P. Dow company and Goes Lithography, as well as doing images for Esquire and Penthouse magazines. Her paintings are not as sexy, but when it comes to painting a face, nobody surpasses Pearl Frush. With his late business partner, Charles G. Martignette, he started hunting down the original pastel or watercolor paintings that pin-up posters and calendars were based on in the 1970s.

Zoë Mozert’s story

From the time they were children, they thought the most beautiful thing in the world was a woman’s face and body. “If that’s where all the money was, as a woman, you’d be lucky to get that job.” Dahlsad also wonders if Frush, Mozert, or Ballantyne ever felt conflicted about creating these innocent-but-sexy women to be ogled at factories and mechanic shops.

Outside of her work for B&B, Ballantyne also took assignments with Sports Afield magazine, which hired her for illustrations regularly for 20 years starting in 1947. The Brands ran among a glamorous scene, populated by celebrities and artists, who’d throw late-night penthouse parties in Chicago and Manhattan, laden with martinis and pipe tobacco. As a young woman, she resembled the Donna Reed in ‘From Here to Eternity,’ only earthier.

Just before I published the article, she called and said she didn’t want it published. I spent weeks with Zoë, and after that, I would visit regularly and clean her house. Within minutes, Zoe was flirting shamelessly with my husband, Jerry, who immediately fell under her spell.” “So many women are left out of historical records,” Dahlsad says. “One morning, he calls up a woman in Wisconsin, and he says, ‘I understand that your father was an executive at Gerlach-Barklow. He came back with the names of 17 people whom he determined were executives at the company during that time.

Meisel explains that Pearl Frush is one of the most technically proficient watercolor photorealist painters he’s ever seen. Meisel isn’t denying that these women had talent. No man, no matter how knowledgeable, can be as familiar with the feminine form as a woman.” “Before the 1970s women’s movement, nobody thought that pin-ups were objectifying.” “There is a certain sexy look, with black stockings, garters, and emphasis on certain parts of the anatomy that Elvgren, Vargas, and other male pinup artists do. While Mozert, at least, was not above mean-girl snarking on friends and celebrities with less-than-ideal figures, she and the other pin-up artists were still blazing a trail for women.

• “Gil Elvgren, the most important pinup artist of all time, was very good friends with Ballantyne, and they actually posed for each other,” Meisel says.
• The Brands ran among a glamorous scene, populated by celebrities and artists, who’d throw late-night penthouse parties in Chicago and Manhattan, laden with martinis and pipe tobacco.
• “Her property was worth a fortune, but the house wasn’t,” says Phillips, who called the state to alert them to the historical treasures inside.

In 1931, she married a man named Charles Warde Brudon and began signing her paintings “Pearl Frush Brudon.” It caused quite a stir with readers; it seems they weren’t expecting such a sexy image on a magazine about wholesome family hobbies. Ballantyne caused a stir when she painted this topless mischievous mermaid for the family-oriented outdoors magazine “Sports Afield.” After studying at the University of Nebraska and the Academy of Art in Chicago, Ballantyne got a job with King Studios, illustrating a dictionary for Cameo Press and painting road maps for Rand McNally in the 1940s.

• “Even closing in on 90, Joyce is an attractive woman.
• She’s a nice girl, she’s innocent, but maybe she got caught in an awkward situation that’s a little sexy.”
• He said, ‘What’s a cute, little thing like you doing in the calendar-art business?

Zoë Mozert’s story

“Even closing in on 90, Joyce is an attractive woman. “She was an icon for women in a man’s world, especially when it came to her pin-ups,” her friend Ed Franklin told the Ocala Star-Banner. Eventually, she was allowed to produce a 12-page Artist’s Sketch Pad calendar, which showed the steps to drawing each image, for the firm. Introduced as “the brightest young star on the horizon of illustrative art,” she designed a B&B direct-mail “novelty-fold” brochure. In 1945, Elvgren recommended her to Brown & Bigelow, who started looking for new artists during World War II, as many pin-up painters had been drafted.

Pearl Frush’s story

’ And he’d say, ‘Oh, yeah, I’d love that.’ When he was unwrapping it at home, his wife would say, ‘Oh, you can’t put that in our house. “At the time, they weren’t sold in art galleries where people paid money for them,” he says. “No man, no matter how knowledgeable, can be as familiar with the feminine form as a woman.” Largely, the stories of these women have been untold.

Pearl Frush’s story

That year, she landed a prestigious gig to produce six covers for Hearst’s American Weekly Magazine, and at one point, she had nine covers on nine different magazines on the newsstands at the same time. At 52, Mozert painted the world’s largest reclining nude for the Red Dog Saloon in Scottsdale, Arizona, in 1959. “My first impression upon meeting Zoe Mozert was astonishment,” Phillips wrote in her article about the 5-foot-tall painter, who was 83 at the time.

A trend in pin-ups in the ’50s was cowgirls, as seen in this Frush painting. If your company had purchased 5,000 calendars from Brown & Bigelow, the salesman would show up and say, ‘Gee, Mr. Smith, this is the original painting that’s on the calendar you bought from us. They were the first to acknowledge pin-up painting as fine art and hang https://losinterventores.com/ the works of Vargas, Elvgren, and Mozert in gallery shows.

Zoë Mozert’s story

“Men were easy to come by; and my paintings were my children.” Jane Russell models for Mozert, who’s painting the scandalously sexy promotional art for 1945’s “The Outlaws.” Via “Tease! At age 45, Mozert retreated to Arizona, where she kept painting calendars for Brown & Bigelow, who was paying her a pretty penny by 1952, around $5,000 per image. Howard Hughes recruited Mozert to paint the publicity image for 1945’s “The Outlaw,” a scandalous billboard of buxom Jane Russell in a peasant blouse dropping dangerously off her shoulder. And Mozert did, in fact, pose for many of these pin-up paintings herself.

But business was business, and one had to meet the demand.” Mozert seemed quite satisfied being an object of lust, but she did admit to Phillips, “It’s a shame nobody wanted to hang up pictures of beautiful men in their garages. “When you’re a commercial artist, you take jobs that pay you,” she says.

Or to give them as gifts to your best salesmen, because they might be saleswomen.” “But as women entered the workforce in the 1970s, it was no longer acceptable to put out pin-up calendars in the break room at the office. “Before the 1970s women’s movement, nobody thought that pin-ups were objectifying,” he says. My husband, Bob, plays cello in the Atlanta Symphony Orchestra and writes music. In 1947, Gerlach-Barklow published her Aqua Tour series, depicting women in watery settings, which broke the company’s sales records.