Cover of The Paris Review featuring Seth Becker’s “At Sea (For Winsor McCay),” 2024.
Cover of The Paris Review featuring Seth Becker’s “At Sea (For Winsor McCay),” 2024.
The Paris Review’s poster featuring the cover of this issue.
Seth Becker, “At Sea (For Winsor McCay),” 2024. Oil on cradled panel; Work: 16 × 20 in (40.6 × 50.8 cm) Framed: 16 3/4 × 20 3/4 in (42.5 × 52.7 cm). Private Collection. Courtesy the artist and Venus Over Manhattan, New York.
Seth Becker, “At Sea (For Winsor McCay),” 2024. Oil on cradled panel; Work: 16 × 20 in (40.6 × 50.8 cm) Framed: 16 3/4 × 20 3/4 in (42.5 × 52.7 cm). Private Collection. Courtesy the artist and Venus Over Manhattan, New York.
Seth Becker, “At Sea (For Winsor McCay),” 2024. Oil on cradled panel; Work: 16 × 20 in (40.6 × 50.8 cm) Framed: 16 3/4 × 20 3/4 in (42.5 × 52.7 cm). Private Collection. Courtesy the artist and Venus Over Manhattan, New York.
Installation view of "At Sea (for Winsor McCay)" in "Seth Becker: A Boy's Head" at Venus Over Manhattan, 2024.
Seth Becker for The Paris Review's 250th Issue
Seth Becker’s painting, At Sea (for Winsor McCay), is on the cover of The Paris Review’s Winter 2024 issue—its landmark 250th edition.
Featured in Becker’s debut solo exhibition with the gallery—A Boy’s Head—this painting features a ghostly steam liner charting its path through a dark, endless sea. The work makes reference to Winsor McCay (1869-1934)—pioneering cartoonist, animator, and filmmaker, who not only gave the world beloved comic strips like “Little Nemo” and “Gertie the Dinosaur” but also created the first visual record of the sinking of the RMS Lusitania. His silent animation, “The Sinking of the Lusitania,” brought the never-photographed 1915 tragedy to life; when the 12 minute film aired in 1918, it was the longest work of animation ever released.
Don’t miss The Paris Review’s limited edition poster featuring the cover, now available from The Paris Review.
To purchase the issue, click here
To purchase the limited edition poster, click here
