Distinguished Educators in the Arts, 2008
 Burne Hogarth (1911-1996) I doubt that Burne Hogarth ever envisioned his modest row of drawing instruction bricks would serve as foundation for one of the most formidable commercial art institutions ever assembled. Hogarth maintained his focus on the human figure, or, more specifically, the dynamic qualities of anatomy in motion, which he believed to be at the core of all representational art. While his personal instruction served as the prime attraction at the beginning, the growth of this intimate academy began to expand. He wisely stepped back and allowed a faculty of professionals in related fields to expand the syllabus and watched his Cartoonist and Illustrator School transform into the School of Visual Arts. At coffee klatches that often followed his classes, Hogarth’s students enjoyed the intellectual exchanges with this expert on art history (as well as almost any other subject that came up). After my gag remark, “Don’t ask Burne Hogarth about the weather or the time unless you want to get an earful on Galileo,” somehow got back to him, he said to me with a smile, “Copernicus might have been a better choice.” And just when you thought you had him with a bit of art trivia, he’d counter with, “Well, I’m afraid Masaccio did that long before Tintoretto.” When I jokingly accused him of making up artists as he did muscles that didn’t exist on any human form, he insisted “those muscles actually did exist but few of us ever see them in that advanced stage of development.” “Then I guess it’s okay for me not to include them in a drawing of boring old muscle-minus Henry Hinglehoffer -- and not Tarzan -- mailing a letter.” I quickly assumed an exaggerated pose ala a typical Hogarth figure. Not missing a beat, he quickly proceeded to draw a loin-clothed clad, bulging muscled image of boring old Henry Hinglehoffer in a very exaggerated “mailing a letter” pose. I immediately captioned the drawing, “The Mail Figure in Motion.” He was delighted. The brilliant demonstration drawings Hogarth made for his classes became the basis for his successful line of art instruction books, reaching an appreciative audience. He enjoyed the celebrity that earned him a worldwide reputation, especially in France where his work was honored and permanently enshrined in major museums. Words by Nick Meglin Former editor of Mad Magazine |
 Vincent di Fate Vincent Di Fate continues to enjoy an extraordinary career at the Fashion Institute of Technology in New York City. Since he began teaching fifteen years ago, Vincent has taught a wide array of classes from Color Theory and The Art of Science Fiction through the History of Illustration. He has written curriculum for an endless number of courses and in collaboration with colleague Melanie Reim he co-authored an M.A. in Illustration program that is both wonderfully innovative and already a resounding success. Vincent is also responsible for designing an innovative program in Film Studies designed for illustration majors. Vincent is among the most accessible and supportive teachers I have ever had the privilege of knowing. He is generous with his time for any student who needs a constructive critique or a sympathetic ear. As former student, Nathaniel Gold states, “Vincent Di Fate is the most inspirational teacher I have ever had. He always goes that extra mile and is always in perfect tune with a student’s needs.” Former departmental chairperson Jane Bixby Weller says “Vincent is truly exceptional. He is wonderfully aware and he knows the field of illustration thoroughly. He knows the history, the present and has an eye to the future. Vincent is truly a visionary.” Vincent brings his forty plus years as an internationally acclaimed illustrator, respected author, public speaker and commentator on Pop Culture to the lecture hall and studio with a profound sensitivity and a wicked sense of humor. In every sense, Vincent Di Fate is a truly distinguished educator. Words and illustration by Murray Tinkelman |
