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		<TITLE>Constantin Alajalov Biography</TITLE>
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      <TD WIDTH="204" valign="top"> <FONT COLOR="#000000" SIZE="2" FACE="HELVETICA,ARIAL"> 
        <font face="Times New Roman, Times, serif">From the age of 16 when the 
        Russian Revolution scuttled his university education, until 25 when he 
        had his first New Yorker cover published, <B>CONSTANTIN ALAJ&Aacute;LOV 
        (1900-1987)</B> whirled through an array of jobs in Russia, Persia, Turkey 
        &amp; New York, ranging from sign painter to portrait painter to court 
        painter, engaging everything from poetry illustrations to murals.<BR>
        <BR>
        Judging from the signature, and the highly geometric flavor of Alaj&aacute;lov's 
        early New Yorker covers (he called them "cubist"), this semi- abstract 
        watercolor was executed within a year or two of 1924, when he was still 
        struggling after his arrival in New York.<BR>
        <BR>
        Alaj&aacute;lov was the only artist to have painted covers for both <I>The 
        New Yorker</I> and <I>The Saturday Evening Post</I>, somehow managing 
        to overcome their apparent agreement of mutual exclusivity. One of Alaj&aacute;lov's 
        last covers for <I>The Saturday Evening Post</I>, "Listening in" typifies 
        the artists later stage, when his carefully crafted cartoons satirized 
        the foibles of American life. When I met him in 1984, the artist was a 
        refined and patrician figure, with reason to be proud of a rich body of 
        work in fine illustrative art.<BR>
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        -Roger T. Reed </font></FONT> </TD>
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