Romanian-born artist Saul Steinberg arrived in America in 1940, and began to record the life and times of the U.S. As a long-time institution at The New Yorker, Saul Steinberg once declared that his illustrations "masqueraded as cartoons". But coming to his work fresh, one would be hard-pressed to figure out which was the real thing and which was the masquerade.
Saul Steinberg's body of work is a thrilling argument for the utility and effectiveness of cartoon art. His work is a skillful, encyclopedic barrage of technique: deft simplification of line, making thematic points by wording with several perspectives within one drawing, even using progressive imagery to fashion narratives from a single picture, as in his geographical cartoons. On top of his mastery of comics' formal properties, a lot of Steinberg's work is terribly funny, and he exhibited a playfulness best seen in his utilization of methods more commonly found in other arts: automatic writing, paste-ups, and the appropriation of other artists' imagery.