A leader in the second wave of "pretty-girl" artists: more like pin-ups without actually being pin-ups. Largely self-taught, learning his way up in ad and art agencies. A pilot in WWI. Style ranged from simple, posteresque lines and colors to his more famous pointillist pieces with boldly directed light, a unique use of warm shadows, and sparkling colors.
Ads for Webster Cigars, Woodbury, Ford Mercury, Crane paper, Yardley, The Italian Line. In-demand illustrator for Goldenbook Magazine, Fortune, Redbook, Woman's Home Companion, Cosmo, True, Esquire, Ladies' Home Journal, Saturday Evening Post, American Girl, Liberty. Originally leaving Princeton with the ambitions of being a writer, Edwin Georgi wrote copy in an agency until persuaded that he would make a better painter. His depiction of sultry, sensual femininity, with a bewildering palette of pearlescent hues, created a powerful image in fifties America - and one of impeccable morality. His quality of light was unique - the highlights burning with adjacent areas of pink and lilac. The reflected light he loved so much seemed to come from beneath, and scattered around the face giving an almost unearthly glow.