Ralph Barton
The Manhattan-based artist, who also served as drama editor for Life, was published in many of the decade's leading periodicals. His stylized illustrations, recognizable for their thin lines and dulled palette, appeared in suck books as Gentlemen Prefer Blondes, Nonsensorship, and Droll Stories.

Charles Chambers
Alternating between editorial and advertising work, Chambers brought his skills to Cosmopolitan, Redbook, and a prominent series of musician portraits for the piano-makers Steinway & Sons. His artwork graced the tomes of such authors as Pearl Buck and W. Somerset Maugham.

Howard Christy
During the Spanish-American War, Christy was commissioned to illustrate articles in Scribner's and Leslie's Weekly; one of these images (of a soldier's dream girl) brought Christy such notoriety that he was for a time pigeonholed as an illustrator of glamour pictures. His "Christy Girls" would appear in McClure's and other publications. The artist would eventually move on to painting portraits of political and historical figures, as well as popular murals in New York and Washington, D.C.

Dean Cornwell
One of the era's leading illustrators, the ubiquitous Cornwell created a vast portfolio of work for magazines and advertisers. His murals for such structures as the Los Angeles Public Library and the 1939 World's Fair in New York were acknowledged triumphs. Cornwell went on to teach at the Art Students League in New York, ensuring that his artistic methods would survive him.

Anton Otto Fischer
The German-born artist's years spent at sea afforded him a blazing knowledge of all things maritime, a skill that would later earn him the rank of Lieutenant Commander as "Artist Laureate" for the U.S. Coast Guard. The work that inspired this honor, a series of dramatic paintings that frequently depicted oceanic adventures, appeared in Harper's Weekly and The Saturday Evening Post, the latter of which he was associated with for 48 years.

James Montgomery Flagg
Best known as the illustrator of the iconic Uncle Sam "I Want You" poster, Flagg also created the visual depictions of P.G. Wodehouse's Jeeves and Wooster series and other satirical imagery.

Walter Beach Humphrey
A journeyman illustrator, Humphrey won assignments from the art editors of nearly all of the major publications of the day, from Collier's and Liberty to the venerable Saturday Evening Post.

Frank Hoffman
As a boy, Hoffman spent much of his time around horses, working and drawing in the stables. His later work would continue in this vein. His work for advertising campaigns (including General Motors, General Electric, and Brown & Bigelow) invariably featured Western themes, keeping his lifelong passion for animals alive.

Rea Irvin
Best known for Eustice Tilly, his cover illustration on the premiere issue of The New Yorker (featuring a monocled man peering at a butterfly), Irvin was employed as art editor of the magazine for 21 years, and contributed to Life magazine as well.

W.H.D. Koerner
Moving from the Midwest to New York City allowed Koerner the chance to transition from the role of art editor into the smock of a working illustrator. His Western- and outdoor-themed pieces were a staple of The Saturday Evening Post for years.

J.C. Leyendecker
The German-born Leyendecker, who studied art in Chicago and Paris, had a long and distinguished career, in which he was commissioned to illustrate covers for most of the day's leading publications. He provided more than 300 covers for The Saturday Evening Post alone, including their popular New Year Baby series. Leyendecker's work for such advertising clients as Arrow Shirts and Kuppenheimer Clothes brought him similar success. Like John Held, Jr. and Norman Rockwell, Leyendecker would come to know celebrity through his success as an illustrator.

Neysa McMein
Between social functions and private parties, at which she hobnobbed with the artistic elite, McMein painted covers for a gamut of magazines, including McCall's, Woman's Home Companion, Photoplay, and The Saturday Evening Post. She eventually worked primarily on privately commissioned portraits.

Russell Patterson
Along with John Held, Jr., the flappers of Patterson were immediately identifiable, and served to define the decade's style and opulence. In College Humor, Patterson's illustrations helped set the standard for the art of the Jazz Age. He went on to design sets and costumes for the Ziegfeld Follies of 1922, as well as other Broadway productions.

Coles Phillips
Making his first sale to Life magazine, Phillips continued his work for the publication and saw his illustrations of fashionable, fetching young femmes boost his popularity immensely. He continued his careful, delicate depictions of feminine beauty and grace in a career that, like most of his peers, saw his work commissioned for a combination of editorial and advertising usage.

Norman Rockwell
Perhaps the most recognizable illustrator of the 20th century, Rockwell's portraits of American life appeared on 322 Saturday Evening Post covers, in myriad other publications, and for a wide variety of advertisements. Three presidents sat for Rockwell portraits, as did other prominent world leaders. His work was so beloved by the populace that Rockwell himself became as much of a celebrity as those he immortalized upon his canvas.

Donald Teague
With the fierce rivalry between The Saturday Evening Post and Collier's, Teague was forced to use a pseudonym (Edwin Dawes) for his work for the latter; it was the politically correct way to acquire work from both publications. His illustrations were well researched; living near the movie studios in Hollywood, Teague often borrowed props from film sets in order to capture an object's likeness.

Saul Tepper
The native New Yorker began his career as a letterer for fashion catalogs. Moving into illustration, Tepper landed assignments for such advertisers as Coca-Cola, General Motors, Mobil Oil, and Texaco, and as a story artist for most of the major magazines. (All the while, Tepper had a second illustrious career as a popular songwriter.)