James E. Allen

James Edmund Allen was an American illustrator, printmaker, and painter. His works include a significant body of lithographs and etchings showing steelworkers, pipe workers, and other aspects of American industrial life, carefully composed compositions depicting "the daily heroism of America's industrial workers." Allen was also a prolific illustrator who, working mostly in oil, contributed numerous illustrations to stories in popular magazines of the day. He has been misidentified in many references as James Edward Allen.

James Allen began his over 30-year career as illustrator with the People's Popular Monthly in 1913. In 1916 James E. Allen moved to Interlaken, New Jersey, living among other artists in the well-known Interlaken Colony near Asbury Park, New York. He was soon selling freelance illustrations to magazines and book publishers in nearby Philadelphia and New York City. By the end of his career, his work appeared in some 20 popular magazines such as American Boy, Blue Book (magazine), Collier's, Cosmopolitan, Good Housekeeping, Ladies' Home Journal, Nash's and Pall Mall Magazine, The Red Cross Magazine, and Saturday Evening Post. As a staff artist for Doubleday, Page and Company, he illustrated a 17-volume edition of the works of Guy de Maupassant, and later works by Gopal Mukerji and Emma-Lindsay Squier. He also illustrated the popular Sinclair Dinosaur Book for the Sinclair Refining Company.

In 1917 James and Elmer joined the United States Armed Forces and served with the American Expeditionary Forces in Germany where James became a 2nd Lieutenant and flier. In 1919 he resumed his career as a freelance illustrator.

James married Grace Louise Parmele in Chicago on January 8, 1919. The newlyweds moved to Frasmere Avenue in Spring Lake, New Jersey, also near Asbury Park. From this location the artist commuted to New York City and Philadelphia to sell freelance illustrations to publishers in both cities. By 1924 his greater market was in NYC, so he rented an art studio at 939 Eighth Avenue, on West 56th Street. His studio was one block from the Art Students League, where he attended classes taught by Joseph Pennell.

In May of 1925 Allen traveled to Paris and rented a studio from artist John Storrs, which he shared with Howard Cook. There he experimented with various artistic media, making lithographs and etchings for the first time. Allen systematically absorbed the teachings of his "graphic heroes" Kasimir Malevich and Paul Cezanne. He admired the work of the Cubists and George Rouault, but he continued to search for economy of line and careful orchestration of tone in his own work. His first etching, Dragon Court, from 1925, is a depiction of the Parisian Cour du Dragon courtyard.

Allen and Grace returned to New York City in November 1925 aboard the SS America, not, as asserted by some sources, due to the economic realities of the Great Depression some years later. He resumed work in commercial illustration and continued to hone his skills as a printmaker under Joseph Pennell and William Auerbach-Levy. During this period he also studied with Arshile Gorky and Harvey Dunn at the Grand Central School of Art as well as with sculptor Naum M. Los to improve his sense of 3-dimensional form.

While some sources claim a relationship with the Work Projects Administration (WPA), this appears not to be true. David W. Keihl writes "James E. Allen valued the worth of hard work and personal ingenuity for survival. He did not participate in the WPA programmes".In 1932, Allen first entered his prints in juried exhibitions and his work began to receive widespread academic and critical acclaim. That year his "The Builders" received both a Shaw Prize from New York's Salmagundi Club and a Henry B. Shope Award from the Society of American Etchers, now known as the Society of American Graphic Artists (SAGA). A year later, "Brazilian Builders" took a Charles M. Lea Award at the Philadelphia Print Club Exhibition. Allen also began exhibiting his work in galleries during the 1930s, including at Kennedy and Company and the Grand Central Art Gallery. He later exhibited, became a member and acted as a juror for exhibitions at the Society of American Etchers.

In 1934 Allen illustrated the "Sinclair Dinosaur Book" as a keepsake for visitors to the Sinclair Oil Dinosaur exhibit at The Chicago World's Fair. It contained 7 full-colored illustrations from his paintings. It was followed by the "Sinclair Dinosaur Stamp Album" in 1935. Some 4 million albums were handed out at Sinclair Gas Stations as a promotional item. He took for inspiration the dinosaurs displayed at the "A Century of Progress" World's Fair, which had opened the previous year in Chicago, and the work of Charles R. Knight. Typical of his dedication, he undertook his own scientific studies under Br. Barnum Brown at the American Museum of Natural History to assure the accuracy of his subjects. In 1938 Allen produced a series of eight lithographs of dinosaurs for Sinclair Refining Company advertisements.

But it is for his images of industrial workers from the 1930s that Allen is best known. In scenes of steelworkers such as "The Builders", "The Connectors", "Skyriders" and "Up Above the World", he creates "a vivid and suggestive picture of the powerful rhythm of daily labour and of the fearless readiness of the workers to perform their allotted tasks". In 1937 he received a commission to create twelve lithographs for the United States Pipe and Foundry Company, showing laborers installing giant pipelines in varied settings.

In 1938 the Graphic Arts Division of the Smithsonian's Museum of American History presented a solo exhibition of his work, further elevating his stature as a master printmaker. As one reviewer remarked: "avoiding the present-day epidemic of social protest... these are graphic depictions of men at work, healthy, satisfied to build for tomorrow, proud in their strength and manual skill". Allen turned from themes of industry to "more exciting" themes of war in the early 1940s, showing scenes of bombers, convoys, dirigibles, etc. but never strayed from his focus on the role people played. Scenes like "Parachutists", "Reserves", "Everybody's War", and "Stowing the Jumbo" focus on personal struggle and labor that was characteristic of his prints before his war experience.

Text courtesy of Wikipedia, 2023