His daughter, Martha, verified the dying. No trigger was provided.
Mr. Lorenz joined the New Yorker in 1958 as component of a stable of artists, including Bob Weber, James Stevenson and others, who helped give the magazine’s cartoons a more irreverent and culturally attuned id amid shifting reader preferences and demands in the 1960s and ’70s.
Mr. Lorenz’s legacy, nevertheless, was bigger than his astounding physique of operate of extra than 1,800 cartoons and dozens of addresses in the New Yorker until finally 2015. As artwork director from 1973 to 1993 and then cartoon editor until finally 1997, he discovered and mentored a era of cartoonists, which include Roz Chast, Liza Donnelly, Jack Ziegler and Bob Mankoff — who succeeded Mr. Lorenz as cartoon editor.
“When persons asked me what I seemed for in a New Yorker cartoonist, I always mentioned, ‘I want a exclusive position of see,’” Mr. Lorenz instructed the Comics Journal in 2011. “Not just gags, in other phrases. Most artists only did gags and did not really have an understanding of what a position of watch was. But all the best artists have a character.”
Mr. Lorenz’s operate could be both equally well timed and timeless. He uncovered rich fodder in crucial human flaws and yearnings — greed and electric power, the balancing act of relationship, the tyranny of vainness and fads — and gave it a modern-day context with a several text in a caption or a flick of his pen.
In 1992, he drew a guy stating his bedside prayers: “And might we continue on to be deserving of consuming a disproportionate share of the planet’s sources.” In a 2010 panel, a guy dumps a briefcase of cash on the desk of an older politician, whose place of work has a portrait resembling President Ronald Reagan. “What the hell, Senator,” the caption states, “let’s minimize to the chase.”
Weather modify was dealt with with out a term: Exhibiting just a melting snowman inside of a snow world. The lookup for that means was rendered by a grocer marketing “fresh insights” in “The Market of Ideas.” The buyer asks: “Just how clean are these insights?”
Mr. Lorenz took unique relish in digging into the ups and downs of residence life and relationships. Hundreds of his cartoons showed partners at a crossroads — typically someplace in center age — with the person generally the a single behaving terribly.
In just one cartoon, a partner, lugging his suitcases and golf golf equipment, turns to his spouse: “Well, now that the kids have grown up and remaining, I guess I’ll be shoving off, as well.”
Mankoff explained Mr. Lorenz as a “jazz cartoonist” — a twin reference to Mr. Lorenz’s longtime musical sideline participating in cornet with his Creole Cookin’ Jazz Band, and how he crafted his drawings. Mr. Lorenz did not very first make a pencil sketch or other under drawings. He would commence with an ink wash or pen and develop the photographs in a single go.
“He was improvising, like he was taking part in jazz,” Mankoff stated in an interview. “He was riffing. He knew what to include. But also — and this can be a lot more critical — he also understood what to go away out to capture the viewer’s eye and make his level.”
Mankoff explained he viewed Mr. Lorenz build a cartoon in 1993 that has introduced a figuring out nod to millions of cat entrepreneurs. Mr. Lorenz 1st made passes with his brush. Then he did a handful of swipes with his pen to capture a frowning cat searching at a bowl of foods just plopped down by an similarly grumpy gentleman. “The phrase you are groping for is ‘Thank you,’” suggests the male.
“He nailed it with just 3 or four strokes,” claimed Mankoff. “Perfect. So a lot of cartoonists fuss and fuss. Lee in no way did that. He just received it correct.”
Lee Sharp Lorenz was born Oct. 17, 1932, in Hackensack, N.J., but moved routinely all-around the region simply because of his father’s career arranging U.S.O. exhibits. Mr. Lorenz immersed himself in comedian guides, fascinated by various drawing approaches and compositions.
His mother’s membership to the New Yorker released him to the intentionally pared-down cartooning types of James Thurber and Saul Steinberg.
Mr. Lorenz studied at Carnegie Tech (now portion of Carnegie Mellon University) and Pratt Institute in Brooklyn, whose professors included the primitivist painter Philip Guston. Soon after his high-quality arts degree in 1954, Mr. Lorenz attempted to make a title as an abstract painter — also wanting to make some additional cash with his very first jazz team, Eli’s Picked out 6.
“That’s what I pursued when I got out of art faculty, but I still essential to make a residing,” he explained to the Comics Journal. “That’s how I received into cartooning.”
Mr. Lorenz offered his initial cartoon to Collier’s in 1956 and branched out to publications like Playboy and “all the Playboy imitators,” he said. He went on agreement with the New Yorker two decades afterwards. Mr. Lorenz became artwork editor in 1973 after the retirement of James Geraghty, who had been in the put up since 1939.
Mr. Lorenz efficiently put to rest the fading procedure of two-person cartoonist groups, a gag author and artist. He sought out new talent capable of undertaking equally, as he and most some others did at the time. “To me,” he explained to Women’s Put on Daily in 1986, “a cartoonist attracts and writes. It is a exclusive art variety that calls for a dovetailing of the artistic and the verbal.”
He introduced additional than 50 new cartoonists into the New Yorker fold. In 1978, he came across delightfully offbeat sketches by Chast, then an aspiring illustrator acquiring her signature mix of visible comedy: clunky drawings and normally anxiety-laced observations. Mr. Lorenz picked probably the most head-scratching Chast graphic for her 1st New Yorker cartoon: A assortment of nonsensical “Little Things” with designed-up names such as a “chent” and “hackeb.”
“They have been so radically various from anything else we have been obtaining,” he reported. “She type of invented a full new style.”
Mr. Lorenz’s very long tenure at the New Yorker incorporated its sale to Samuel I. Newhouse Jr.’s Advance Publications in 1985 that led to the dismissal of the magazine’s editor, William Shawn, who had been one of Mr. Lorenz’s major supporters. But Mr. Lorenz survived the shake-ups beneath the new main, Robert A. Gottlieb, and its next editor, Tina Brown.
“Lee Lorenz’s inky brushstroke was exclusive, his jokes really funny,” claimed New Yorker editor David Remnick in a assertion. “As an editor, he was the two discerning and type, and he brought in an astonishing array of new expertise to The New Yorker — the forms of artists who made their have visible worlds that fill our pages nowadays.”
Mr. Lorenz was married and divorced three moments. Apart from his daughter, he is survived by a son from his first marriage a daughter from his next marriage two grandchildren and a single good-grandchild.
Mr. Lorenz’s Creole Cookin’ Jazz Band performed weekly at the New York Community Library for the Executing Arts until finally the pandemic quickly halted reveals. His cartoons had been compiled into numerous anthologies and he also illustrated for children’s publications, like Richard J. Margolis’s “The Upside-Down King” (1971) and David Updike’s “Seven Occasions Eight,” (1990) and other textbooks this kind of as Bruce Feirstein’s satirical “Real Males Really do not Consume Quiche: A Guidebook to All that Is Truly Masculine” in 1982.
In January 2015, Mr. Lorenz’s past New Yorker cartoon appeared. It confirmed “Save the Lemmings” activists making use of a net to catch the critters as they ran off a cliff.