Mr Charles E. Cooper of CEC,
                                Charles E. Cooper Studio

Mr Charles E. Cooper

What Mozart, Elvis and Chet Atkins
are to music,
Atman Art.


 finally exploded with Atman Art.



Charles E. Cooper Studio.

The Charles E. Cooper Studio was by far the biggest global empire of artistic creativity the world will ever see. There was only one reason for this: THE PUBLIC. The Public -- NOT intellectuals , and not the Media that intellectuals control -- but the Public is the measure of “Creativity that is its own Reward” Atman Art.

The story of this global empire starts with the Civil War. The publishing industry made the Civil War a showpiece of modern warfare for the the whole world. Magazines like Harper’s and Leslie's hired illustrators to go into the field and use drawings to help tell the story of the War to the American public, and also the whole world. The popularity of these magazines exploded to end up decades later as publishing empires.

These illustrators used drawings to entertain the Public like photographs could not, not even with today's technology. When it came to entertaining the Public with stories and images, illustrations, the Civil War catapulted the publishing industry in the U.S. into the lead that would only increase after the war. After the War the publishing industry used illustrators to entertain the public with drama, mystery, intrigue of the Indian Wars, Wild West, Gold Rushes, Cattle Drives... Railroads... to continue to entertain much of the world like the magazines of no other nation could.

By the early 1900s the publishing industry in the U.S. had made the professional illustrator belong to the most lucrative profession in History. Established illustrators were more famous, popular and wealthy than any Movie Star or Rock Star is today. Illustrators like Thomas Nast (1840-1902) were so influential that they could do what no police system could: bring corrupt politicians like Boss Tweed to justice. Some Illustrators became so popular and influential that they could determine the outcome of elections. Never in the history of the world have a group of professionals had such popularity, power and political clout.

Just like doctors were forced to specialize with the advances in Medicine so too illustrators were forced to specialize as the publishing industry turned into empires, like with the name “William Randolph Hearst” (1863 – 1951). In the same way specialized doctors joined clinics to provide their services so too illustrators started to join studios, Illustration Agencies, as an efficient and effective means to provide their services to the publishing industry. And what Harvard and Yale and Princeton combined is to academics  the Charles E. Cooper Studio was to illustration/art.

While the publishing industry in the U.S. was still far ahead of the rest of the world entertaining the public with stories and illustrations the Charles E. Cooper Studio was to the illustration/art business globally what William Randolph Hearst was to the publishing industry nationally.  What the New York Yankees were to the national sport of baseball, at the height of their dynasty, the Charles E. Cooper Studio was to art and illustration globally.

Charles E. Cooper worked like a magnet to attract the best artists in the world and business followed.  He was a superb businessman who took care of his artists needs and they rewarded him by making his agency the greatest empire of artistic creativity the world will see.

His artists were the best because they catered to the Public's tastes, needs and wants. To Charles E. Cooper the PUBLIC determined Creativity and his artists, and not intellectuals, gave it directly to them, the Public. The art that entertains the un-prompted Public defines Atman Art.

The reason Cooper became a global empire was because in Europe intellectuals controlled the meaning of “art.”  Intellectuals tried to do the same in the U.S. by forcing their "Modern Art" onto the public ... but it would take a few decades before this Modern Art would finally destroy the magazines that originally thrived by entertaining the Public.

Because of academics, artists and illustrators in Europe were trained to ignore the Public by catering to intellectuals.  If magazines in Europe wanted to sell to intellectuals then they had all sorts of European artists and illustrators who were trained with this academics. However, if the magazines – anywhere in the world – wanted to cater to the Public then they needed artists that catered to the Public... and in the world the one agency – far more than any other – that had the best artists who catered to the Public's tastes was the Charles E Cooper Studio.

The Public made the publishing industry boom as long as it gave the Public what it wanted: entertainment.

When the likes of wars and revolutions slowly shifted the focus of magazines from entertainment to the likes of propaganda and documentaries ... the Public lost interest and the magazines started to die. The public simply switched to reading comics and novels, and then later movies and TV to get what they wanted – what they still want more than anything else for their entertainment, be it movies, TV and novels: entertainment.

After the magazines started to slowly die by moving away from entertaining the Public intellectuals took magazines over with their “other art,” intellectual-art that is still the most insanely manipulated commodity known to money and the IRS: “Modern Art.”

 When the art in magazines shifted from Atman Art -- the art that entertained the Public -- to the intellectual’s Modern Art it was the final nail in the coffin for all magazines because it did nothing but alienate the very Public that made these magazines successful in the first place. And when the magazines died with it went a large part of the illustration and editorial business of agencies like Charles E. Cooper Studio.


-- geza palotas

Charles E. Cooper Studio Artists,

                        E. Cooper Studio Flyer

This image says a lot. It is not an image one would normally associate with “selling art.” At its height the Cooper Studio was in such demand that Charles E Cooper had to turn clients away. He had no competition so he did not have to compete. So he cared little about the art that went on his flyers. And by the time the magazines started to fold ... by then artistic and creative flyers would not have made much difference to the way magazines were dying.

For Artists Associates it was another story. The art on its flyers made a huge difference to its business.