The Paris Review: 60 Years of Substance and Style
Since its founding in 1953, cover design has helped define the cultural significance of The Paris Review
By Anne Quito, Superscript January 30, 2014It’s a rare sighting these days. In its early years, a rather affable-looking eagle donning a bonnet rouge had a permanent perch on the upper left hand corner of the Paris Review cover. Designed by its first art editor, William Pène du Bois, the emblem heralds the quarterly’s French-American roots. The Review was founded in 1953 by a group of American expatriate writers living in Paris and has since established itself as a premier venue for a stellar succession of literary voices including Jack Kerouac, V.S. Naipaul, and Samuel Beckett, just to name a few.


























Over the last six decades, the journal’s format has gone through significant style revolutions and revivals. Like a spy in multiple guises from its alleged cloak-and-dagger past, its masthead shape-shifts from serif to sans serif and back again and the number of pages shrinks and expands. For the cover of issue 204—the publication’s 60th anniversary issue—the editors commissioned the mysterious French photographer/street artist JR to flypost a wall in Paris’s 11th arrondissement with a giant portrait of George Plimpton, a symbolic homecoming for the magazine’s legendary founding editor. Like the diversity of stories in each issue, the Review has featured a wide range of visual modes by established and emerging artists on its covers—illustration, conceptual art, painting and photography—“blithely serious and seriously blithe,” to borrow from the words of current editor, Lorin Stein.
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Showcasing this eclectic array of art prominently on its covers is a point of pride for the Review, which, as with its literary aspirations, sought to expose new artists to broader audiences. Among the artists to design covers are Keith Haring, David Hockney, printmaker Mario Avati, Alain Jacquet, Larry Rivers, illustrator Tom Keogh, and Lucio Fontana. Beyond commissioning cover art, The Paris Review established a Print Series in 1964 that allowed the publication to produce artwork by artists including Andy Warhol, Sol LeWitt, Claes Oldenburg, Roy Lichtenstein, Willem de Kooning, and many others. This tradition continues today following a hiatus after Plimpton’s death in 2003.
The Review’s cover has inspired several design tributes—including the interior of the Australian beauty brand Aesop’s shop in New York’s Chelsea neighborhood, which features a lively ceiling canopy assembled from back issues of the Review, and a limited-edition line of swim trunks sold at Barney’s New York—asserting the broad reach of the magazine’s cultural significance.
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