avatibroadstThe late James Avati, pictured above right at his Broad Street studio in the early 1990s, employed friends, family members and Red Bank neighbors as models for his sought-after paperback covers. Avati returned to the Little Silver milieu of his early years, in the 1999 photo below. (Avati photos by Piet Schreuders; click the one below to enlarge)

avatililsilvBy TOM CHESEK

He was the King of the Paperback Book Cover Artists — the Rembrandt of the Paperbacks, according to some. An innovator who set the pace during what’s widely considered a golden age of American illustration — and he did it all from his walk-up studio above Broad Street in Red Bank.

During the years dating from the end of the Second World War to the era of the WIN Button, the late James Avati created hundreds of vivid, powerful cover paintings for novels by Faulkner, Dreiser, O’Hara and many other leading literary lions of the day — as well as for upstarts like J. D. Salinger and Mickey Spillane, whose hardboiled epics were reportedly no favorites of the artist.

Famous for reading every word of every book he was hired to do, Avati was commissioned for dozens of high-profile titles from New American Library and other top publishing houses, and found his smoldering, moody style quickly imitated by his peers. It would have been easy for him to work exclusively with the best available models, but what truly set Avati’s work apart — what gave it that edge of authenticity and heart — was his preference for “real people” subjects; many of them drawn from his circle of friends, relatives and neighbors in and around Red Bank.

Beginning this Friday evening, July 15, those faces that once called out to readers from drugstore bookracks and bus station spinners will be on full-size display, as the Monmouth Museum on the Lincroft campus of Brookdale College hosts an opening reception for The Painting World of James Avati. A sampling from the world’s largest collection of the artist’s sought-after work, it’s a priceless portrait of American realism in words and pictures; a painted diorama of a bygone Red Bank, and a fascinating glimpse into the creative process of a man whose signature work has been described as “the darker side of Norman Rockwell.”

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