Men of the 61st Fighter Squadron, 56th Fighter Group. Unlike many group photographs, all the men have been identified.
Front Row: Lt. George E Levkovich, Lt. Robert A Baughman, Capt. James R Carter, Lt. Stuart H Getz, Lt. Arthur C Maul, Lt. Robert J Rankin, Lt. Earl Hertel, Lt. Cleon C Thornton, Lt. Oscar M Belk, Lt. Joel I Popplewell.
Middle Row: Lt. William R Hudson, Lt. Warren S Patterson, Lt. Timothy J Sullivan, Lt. Merton J Gillies, Lt. Jack J Haek, Lt. Praeger Neyland, Lt. Edward A Sisson, Lt. Samuel D Hamilton, Lt. William M Heaton, Lt. Herbert R Holtmeier, Lt. Steven Gerick, Lt. Carl E Westman.
Back Row: Lt. Dick W Thompson, Lt. James J Clark, Lt. William H Barnes, Capt. Benjamin E Cathers, S/Ldr. Tadeusz Sawicz, Flt/Lt. Tadeusz Andersz, Lt.Col. Francis S Gabreski, Flt/Lt. Boleslaw M Gladych, S/Ldr. Kazimierz Rutkowski, Flt/Lt. Witold A Lanowski, Lt. Robert J Keen, Lt. James M Jure, Lt. Joseph H Perry, Lt. William R Aggers.
“He drew inspiration equally from the nightclubs of Manhattan and the apple orchards of New England; but his covers, taken as a group, seem really to be about the joy of painting itself. He preferred a high-keyed palette, and laid on his colors with an energy and directness that often led him to the edge of Abstract Expressionism.” – Lee Lorenz
Former New Yorker art editor Lee Lorenz wrote of Getz: “He drew inspiration equally from the nightclubs of Manhattan and the apple orchards of New England; but his covers, taken as a group, seem really to be about the joy of painting itself. He preferred a high-keyed palette, and laid on his colors with an energy and directness that often led him to the edge of Abstract Expressionism.”
I’ve always been attracted to the idea of the quiet moment. (If I were analyzing myself, I think it would stretch back to my mother reading me Goodnight, Moon, reportedly my favorite book, as a toddler) And my favorite New Yorker covers are the ones that communicate the quiet moments in a normally bustling city. Arthur Getz was one of the best at conveying this mood.
Arthur Getz moved to New York City in 1935 and, like many of the struggling artists of his time, began submitting illustrations to magazines and other publications. He sold his first “spot" drawings and cover to The New Yorker magazine in 1936; this first cover was actually printed on July 23, 1938. Thus began an association with the magazine that spanned over fifty years and ended with Getz’s self-proclaimed “retirement" from New Yorker work in 1988. Fluent in the visual language of both city and country, Getz’s boldly colored covers and his curvy signature soon became a recognizable part of the magazine’s image. From the late 1940s on it was not uncommon for several Getz covers to appear on the The New Yorker during a single month.