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In these heady days of cine film his artwork, alas suffered. As a seasoned photographer the images he captured on Super 8 film were extraordinary. He had a camera with him all his life and in the late 1960’s he progressed to making cine films. If he couldn’t sketch, he took photographs. His adoration for the fairer sex, went hand in hand with his love of dancing, music and of course his art.

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No longer confined to servicemen’s billets and the cab of Lorries, they were everywhere!Īs an outstanding giro compass specialist George had plenty of free time in the navy giving him the opportunity to do the extra-curricular activities he wanted. Pin-up techniques were used more intensely in advertising and by 1957 pin-ups were everywhere and had become the first mass art of the twentieth century.

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Petty’s illustrations were even used to grace the album covers on a series of Jazz releases from Decca records. Sexist and cheesy by modern standards, but “Blighty” was one of the best magazines of its type and its excellent artwork stands the test of time. This was the age when humour magazines for men were all the rage. After the acceptance of the wartime pin-ups, film stars were marketed more explicitly as ever before as ‘sex symbols’, glamourous figures like Jayne Mansfield, Jane Russell, Sophia Loren, Brigitte Bardot and of course Marilyn Monroe. His interest in drawing was clearly nurtured by the beauty of the female form divine!Īfter the war, during the 1950’s the pin-up culture flourished in the popular press. They become in his mind the pinnacle of art and shaped the fabric of his fantasies, using their attributes and features as the template for his ideal woman that he was perpetually searching for. George was captivated by the pin-up’s slender form with exaggerated long legs, bouncy curls, hourglass figures and penchant for thematic lingerie. Esquire capitalised on the Petty Girl publishing calendars and various ephemera. From there, George Petty’s creations were featured everywhere – cigarette cases, playing cards, advertisements from Knitting to Airlines. The pin-up featured a long-legged female that was generously proportioned and often with a phone in hand. The Petty Girl made her first appearance in 1933 as a full-page cartoon in Esquire Magazine’s first issue.

The genre also gave rise to several well-known artists specialising in the field, including Alberto Vargas, Arthur Ferrier and George’s own favourite, George Petty. An early example was the Gibson girl, drawn by Charles Dana Gibson. The early pin-ups were artwork, often depicting idealised versions of what some thought particularly a beautiful or attractive woman should look like. She was the Force’s sweetheart created to win the adoration of men across the world. She had the voluptuous curves of Venus, the provocative grace of a young Mae West and the virtue of a Girl Scout. She was flirtatious but fiercely independent. The pin-up was risqué but never explicit. His attraction to this art form stemmed from a typical healthy teenage obsession with the opposite sex, accentuated by the abundant proliferation of pin-ups during the Second World War.

Though he painted many things, his main focus from an early stage was the female figure. George was a distinguished, self-taught artist with an intelligent use of fine delicate lines, a natural eye for form and a vibrant manipulator of colour. Art was an early pastime that captured his imagination and with loads of meticulous practice and commitment he became very accomplished indeed. His attention to things he thought worthwhile was passionate and thorough and consequently he excelled in many activities, his artistic expressiveness clearly showing in anything he turned his hand to. If he liked it he would try it again, and again until he became good at it. He believed in sampling and trying everything that life had to offer. Hence he lived every day as if it was his last. During his childhood, George was injured in the chest by a self-made cordite glass bottle bomb and consequently he headed off to war in the Pacific against the Japanese thinking he was going to die young. George Alexander Raby (February 1924 to November 2007) was a man of many talents who did what he wanted. “Just leave the canvas blank and call it, “Investigation into the meaning of nothing”. then after my blue period, there’s this half-hearted attempt from my thoroughly fed-up patch”.

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The problem is how to remain an artist once we grow up.”. “The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but his art”.