Saul Steinberg

A Biography

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From National Book Award winner Deirdre Bair, the definitive biography of Saul Steinberg, one of The New Yorker's most iconic artists.
The issue date was March 29, 1976. The New Yorker cost 75 cents. And on the cover unfolded Saul Steinberg's vision of the world: New York City, the Hudson River, and then...well, it's really just a bunch of stuff you needn't concern yourself with. Steinberg's brilliant depiction of the world according to self-satisfied New Yorkers placed him squarely in the pantheon of the magazine's—and the era's—most celebrated artists.
But if you look beyond the searing wit and stunning artistry, you'll find one of the most fascinating lives of the twentieth century. Born in Romania, Steinberg was educated in Milan and was already famous for his satirical drawings when World War II forced him to immigrate to the United States. On a single day, Steinberg became a US citizen, a commissioned officer in the US Navy, and a member of the OSS, assigned to spy in China, North Africa, and Italy. After the war ended, he returned to America and to his art. He quickly gained entree into influential circles that included Saul Bellow, Vladimir Nabokov, Willem de Kooning, and Le Corbusier. His wife was the artist Hedda Sterne, from whom he separated in 1960 but never divorced and with whom he remained in daily contact for the rest of his life. This conveniently freed him up to amass a coterie of young mistresses and lovers. But his truly great love was the United States, where he traveled extensively by bus, train, and car, drawing, observing, and writing.
His body of work is staggering and influential in ways we may not yet even be able to fully grasp, quite possibly because there has not been a full-scale biography of him until now. Deirdre Bair had access to 177 boxes of documents and more than 400 drawings. In addition, she conducted several hundred personal interviews. Steinberg's curious talent for creating myths about himself did not make her job an easy one, but the result is a stunning achievement to admire and enjoy.


A New York Times Notable Book of 2012

"Gripping and revelatory ... There is much that is new in Bair’s book, and Steinberg emerges from her account as a paradigmatic 20th-century exile and traveler, crossing and recrossing fixed boundary lines in both his life and his work ... Steinberg certainly produced his share of classics, and in the process he helped pave the way for a culture of boundary-blurrers ... He showed that literature can be created without using a single sentence."
—Deborah Solomon, The New York Times Book Review

"A meticulously researched and soberly written portrait revealing an artist whose personality was both more troubled and more troubling than his fans would have ever imagined ... A tour de force of biographical craftsmanship."
The Wall Street Journal

"The pre-eminent New Yorker cartoonist leads a life worthy of his own ironic art in this scintillating biography ... Steinberg emerges as a tangle of neurotic contradictions ... Bair's long and amply researched biography unfolds in a graceful prose that's stocked with absurdist scenes and colorful characters ... Her breezy writing works subtly and slyly to unearth psychological depths beneath that amusing surface of the Steinbergian picaresque."
Publishers Weekly, starred and boxed review

"With this enthralling and exhaustive biography, Deirdre Bair traces the first complete portrait of the private, astringent (and now formerly) inscrutable artist/cartoonist in a nonjudgmental manner, all the while gaping at the famous friendships, expansive career, and, most surprisingly, messy affairs that Steinberg so peripatetically and painfully inhabited. Steinberg was not only the most ‘twentieth century’ of twentieth century artists, but also one of the most flabbergasting."
—Chris Ware, cartoonist
"Does his reading Huck Finn in an Italian concentration camp, his belief that Cyrillic ‘looks like sneezes,’ his TV commercial for Jell-O, or the hunch that Mickey Mouse was black explain Saul Steinberg?  Not entirely, but Deirdre Bair does the rest, in her sensitive, stylish portrait of an American original.  A rich, sparkling joy of a book."
—Stacy Schiff, Pulitzer Prize-winning author of Cleopatra

"The definitive portrait of an illustrator, an artist, who created some of the defining images of the 20th Century. Bair has written the enchanting and illuminating biography that Steinberg always deserved."
—Steven Naifeh and Gregory White Smith, Pulitzer Prize-winning authors of Van Gogh: The Life
"I thought I knew Saul Steinberg, yet in Deirdre Bair’s biography I learned of the extraordinary life, replete with his most intimate musings, this guardedly private man lived.  It brought back the unique wit and humanism that make Steinberg one of the towering creative forces of the 20th Century."
—Françoise Mouly, Art Editor, The New Yorker 

"[Full of] fresh revelations ... A comprehensive and engaging biography."
The Boston Globe


Author's Note

Like many other Americans in the last half of the twentieth century, I grew up eagerly awaiting the arrival of The New Yorker each week. Back when there was no table of contents, I think a lot of people must have done as I did, flipping through the pages to scan the titles of articles and glance at the end to see who wrote them while reserving my initial attention for the drawings and cartoons. And from the quantity of fan mail the magazine received, I don’t think I was the only one who stopped fanning the pages to study whatever Saul Steinberg contributed to an issue. His work always got my attention, and nine times out of ten, my first response was the same puzzled question: Just what did he mean by that? All those numbers, letters, squiggles, and curlicues; those funny animals and ferocious figures; the brutalist buildings, tranquil landscapes, and chaotic street scenes—what was he getting at? And as for that poster, the iconic “View of the World from 9th Avenue,” dubbed by me and countless others “The New Yorker’s View of the World,” I am sure I was among the first delighted buyers who rushed  to the store on Madison Avenue for a copy, which has hung in every house I’ve lived in since then.

When I became a university professor, my office bulletin board was festooned with Steinberg’s covers, most of them the ones containing words that I used to try to inspire my students to think. There was the one that showed a man standing between two signs, one pointing to “before” and the other to “after.” There was the one with all versions of the verb to be, and the one that proclaimed “I do,” “I have,” and “I am.” And whenever assignments were due and I knew I’d be deluged by requests for extensions, I’d send my students a message by posting one of my favorite cartoons on the office door, of a man who sits behind a desk beaming as the word NO floats above his head and over to the deflated supplicant who sits in front of him.

In my home office, ever since I was a graduate student in Paris years ago and I went without lunches to buy it, a Steinberg print has hung on the wall where my eyes naturally gravitate when I raise them  from my work. It has floated above every desk since the days when my ancient typewriter gave way to a succession of computers, because I always found something soothing in it during my daily search for whatever words or thoughts were eluding me. I still don’t know what there is about this print, one of his landscapes from the era of The Passport, that is endlessly fascinating. It just is.

That vague generality pretty much characterized my overall response to Saul Steinberg’s art until early 2007, when I saw two exhibitions of his work, at the Morgan Library and Museum and the Museum of the City of New York. I spent  so much time studying the drawings and trying to puzzle out what inspired him to create them that the friends who were with me grew tired of waiting and were about to leave without me when I rushed to tell them how I thought I’d found what I’d been missing all those years. I had just read a caption that quoted Steinberg as having said, “I am a writer who draws.” That was it, of course, the elusive key that opened the first of the many doors that led me to spend three magical years searching for an understanding of his oeuvre.

On my way out of the Morgan Museum, I bought the book that accompanied the exhibition, and when I got home, I put it beside the four books of his drawings that were already on my library shelves. One by one I took them down again, once more finding puzzle and pleasure in equal part. Several months later, when I was packing books and files for a household move, I came across a huge folder left over from my teaching days that contained all the Steinbergiana that had adorned the walls and bulletin boards of my various offices. For the first time I was aware of the variety of his output, from New Yorker covers to product advertisements. I had saved an old Hallmark calendar and one leftover Christmas card from those he drew for the Museum of Modern Art. There was even a photo of a funny-looking fellow with a mustache and black-framed glasses holding a tiny brown paper mask over his nose, who I now knew was Saul Steinberg himself. How many years had I saved all this? It was hard to remember when I started, or even why. I knew nothing about the artist’s life when I collected all these things and until that moment had never considered finding out who he was, where he came from, or why he made such an impact on his culture and society. At that time I really believed that I would never write another biography, but thoughts about Saul Steinberg persisted, and almost before I could verbalize what they were, I knew that I wanted to write about him. One thing led to another, and that was the start of this biography. Four years later, the end result is here.
New Haven, Connecticut



Saul Steinberg’s Italian diploma in architecture stated clearly that he was “of the Hebrew Race,” which meant he was forbidden to work in Milan in 1940. He was a Romanian citizen, but his passport had been canceled, making him a stateless person bound to be rounded up by Mussolini’s Fascist police and sent to an internment facility, the Italian version of a concentration camp. Although he was well known for his satirical drawings and cartoons in two of Milan’s leading humor newspapers, he lived for several months as a hunted man and never stayed long in any one place.
His Italian girlfriend hid him in her room and her friends hid him in theirs; his classmates from school did the same. But Milan was really a small town and difficult to hide in for long. It was only a matter of time until he would oversleep and be arrested in one of the daily 6 a.m. sweeps through the poorer parts of town, then be loaded onto a train with others who had run afoul of the Fascisti and sent to an internment facility. Those on the run heard rumors that suspects who surrendered voluntarily were treated better than those who were caught in the daily raids, and so, on the advice of his friends, Steinberg turned himself in at the neighborhood police station. Shortly after, he was indeed shipped off to an internment facility, Tortoreto.

The train ride to Tortoreto was the start of a long series of peregrinations that eventually took him from Milan by plane to Lisbon (twice), to Rome by train, to New York via ship, and then to four days in a holding pen on Ellis Island until the ship that took him to exile in the Dominican  Republic was ready to sail. A year later, through  the intercession of everyone from Commodore Cornelius Vanderbilt to his American uncles and cousins, to several finally admitted to the United States. He took his first legal footsteps on American soil in Miami and from there he took a Greyhound bus (one of his favorite modes of travel) to New York.

Several months later, in one single day, Saul Steinberg became a United States citizen, a commissioned officer in the United States Naval Reserve, and, via the Office of Naval Intelligence, a member of the fledgling OSS (later the CIA) under the auspices of Wild Bill Donovan, who wanted him despite the fact that navy doctors who had examined him declared him both physically and psychologically unfit for service.

Ensign Saul Steinberg, USNR, was sent to Washington, D.C., for a brief period of training in psychological warfare to prepare for an overseas posting where his considerable knowledge of languages would complement his artistic abilities. Fluent in his native Romanian and Italian, with excellent French and good German, able to get by in Spanish, and with a smattering of Portuguese and comprehensible English, he was sent by his superiors to be a spy in inland China.

And that, as he was fond of remembering, was the start of the Americanization of Saul Steinberg, and of his lifelong love affair with all things American.

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