Though his New Yorker drawings are well known, Steinberg’s frequent contributions to other magazines have received little attention. Unconstrained by The New Yorker’s proscription of color for interior art and the limitations of its three-column format, Steinberg let loose with an array of styles, media, and themes, from black-and-white ink drawings to full-color paintings and collage assemblages.14
Painting and collage accompanying article “Who’ll Be Drafted When?” Fortune, November 1942.Drawing and collage accompanying article “Soap Opera.” Fortune, March 1946.Cover of Harper’s Bazaar, May 1947. Editorial note: “To symbolize the new French fashions shown in this issue, Steinberg’s four versions of the famous column of the Place Vendôme in Paris.”“Change of Mind 1900-1950,” 1900s. Vogue, January 1950.“Change of Mind 1900-1950,” 1910s. Vogue, January 1950.“Change of Mind 1900-1950,” 1920s. Vogue, January 1950.“Change of Mind 1900-1950,” 1930s. Vogue, January 1950.“Change of Mind 1900-1950,” 1940s. Vogue, January 1950.Drawing and collage, “Juke Box.” Harper’s Bazaar, August 1951.Original drawing for “…and Europe,” Look, January 1, 1952. B Movie, 1948. Ink, colored pencil, crayon, watercolor, pencil, rubber stamps, and collage on paper, 14 ½ x 23 1/8 in. The Art Institute of Chicago; Gift of The Saul Steinberg Foundation.Fabric collage, “Saul Steinberg’s View of ‘The Threepenny Opera,’ Revived.” Vogue, May 15, 1954.From “Steinberg at the Bat,” LIFE, July 11, 1955.From “Steinberg at the Bat,” LIFE, July 11, 1955.Drawing and collage, from the series accompanying “A Forward Look at Communications.” Britannica Book of the Year, 1958.“Saul Steinberg Stops for the Night.” Fortune, June 1959.From “Steinberg at the Races.” Sports Illustrated, November 11, 1963.“The Communications Explosion.” Cover of TIME, May 14, 1965.
