By Stefano Zuffi
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Extra resources for Giorgione
It’s very important. ” An abashed ofﬁce worker reassured him that such a thing would not happen again. ” Tony Boucher had an old-fashioned, gentleman’s sense of publishing and had no problem with returning art when Ed’s request was relayed to him. This began a standing policy that Ed had with F&SF. One Emsh art collector, Alex Eisenstein, believes this may have led to Ed doing his best art for that magazine. In other cases, several of Ed’s unused early samples were eventually updated and reﬁned by him for later use.
Their point of visual reference was more likely to come from B ﬁlms, 51 such as Rocketship X-M and Destination Moon. And of course, Hollywood was not above using images and ideas pilfered from SF magazines. Commercial artists did not endear themselves to art directors by bringing new ideas into the air. Then as today, art editors saw artists as craftsmen deployed in the service of an idea already ﬁxed, if not fully focused, in the art director’s mind. (Richard Powers appears to be the only other artist making any attempt at fusing SF art and modernistic art—in his case, surrealism.
As Carol later recalled, Something clicked. So this is what writing is all about. It’s not at all that stuff in high school or freshman English. She showed her work in progress to Ed, who made comments based on his own take on genre ﬁction. Except for art assignments, Ed was not a big reader of ﬁction. In his studio could be found copies of “ﬁgure study” art reference magazines showing photography of nude models with all hair below the neck carefully air-brushed out, men’s magazines including Playboy, and Popular Science, Scientiﬁc American (one of the few magazines he really enjoyed reading).