The funny-macabre century of Charles Addams.
Dec 24, 2012, Vol. 18, No. 15 • By JONATHAN LEAF
It’s possible to be underrated though employed by the New Yorker. Peter de Vries was. Another sufferer from this affliction was the cartoonist, born 100 years ago this year, for whom de Vries wrote more than a few captions: Charles Addams (1912-1988). Both men committed the not-always-extenuated crime of being terrifically funny.
Charles Addams, Joan Fontaine (1962)
One wonders: Whence is this transgression? Why is the most tediously “serious” person invariably elevated above the most accomplished clown? How is it that a ham like Richard Burton is judged a better actor than Peter Sellers, and a stiff like Paul Robeson more consistently venerated than Eddie Murphy? Those gifted with the power to make people laugh seeking respect and awards would do well to follow the example of Woody Allen. I do not mean that they should wed their step-daughters; no, the trick is never to be in any degree amusing when you are interviewed about your work.
This was not Charles Addams’s practice. If he was happy to pose for photographs wearing medieval suits of armor, he never garbed himself in the heavy breastplate of the artist. Even as he created an oeuvre of more than 1,300 published cartoons (including the memorable characters we know today as the Addams Family), he was always a model of amiability and winking affection. Contrary to myth, he was at no time committed to an asylum. Nor was he known for moodiness or depression.
Moreover, even though his drawings were regularly published in bound volumes, and he sold well through prestigious galleries, he refused to produce lithographs of his compositions, and insisted on describing himself only as a “cartoonist.”
This persistent impulse towards modesty was inherited through an impressive patrimony of well-mannered and successful WASPs. Patrilineally a distant cousin of Jane Addams, he was also, through his mother, a descendant of John Adams and that original Adams Family. But this was not something he would mention, and the range of his friends extended from fellow bar patrons in out-of-the-way taverns to such notorious misanthropes as Alfred Hitchcock and John O’Hara.
If Addams’s wit is sardonic, there is also something warm and inclusive about it. This is a reflection (as it must be for all artists) of who he was. The much-indulged only child of a housewife and a prominent naval architect, Addams followed his father in his early avocation for the art of drawing and his mother in displaying an offbeat sense of humor and fascination with haunted houses and graveyards, something which continued throughout his life.
Addams took these interests from the small New Jersey town in which he grew up to the University of Pennsylvania, then to work as a retoucher at a publication specializing in gruesome crime scene photographs, and finally to the magazine with which he is most associated.
At each of these places—and during his subsequent wartime service in the Army and his many years living in the Hamptons on weekends and in a townhouse he owned in New York during the work week—he displayed the classic artist’s preoccupation with beautiful women. Of these there were many in his life, including three wives and such famous lovers as Jacqueline Kennedy and Joan Fontaine. (Addams and the former first lady became a couple in the year after her husband’s assassination, and, though she ultimately spurned him, telling him pointedly that he was not rich enough for her, it was he who introduced her to Greta Garbo, another of his former girlfriends, at a dinner for three.)
In spite of this overactive libido, he had hardly any enemies. This may have been partly because he was, by his own acknowledgment, somewhat childlike. Though he did not want to have children himself, the progeny of his paramours consistently adored him, finding in him a kindred spirit. This was not only a consequence of his impishness, but of a certain naïve wonderment with which he looked at things. Like many intelligent tykes, Addams would spend hours staring at objects or the sides of buildings, trying to more fully appreciate their designs, gazing fixedly and with something akin to rapture.
This concern for detail—along with a habit of going to antique stores to study period furniture and purchase curiosities like crossbows and halberds—vitally assisted him in his work, since much of the brilliance of Addams’s drawings derives from their specificity. His haunted Victorian piles have minutely rendered mansard roofs and finely drawn gables and shutters. The shadows formed by his drainpipes are elegantly executed using delicate washes. A cash register in a remote store is of a recognizable make and model.
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