Tying Up Loose Ends: Dom Lupo

Not long after my week of posts about Dom Lupo, I was received a comment on the blog from Dom Lupo's daughter, Sue. "Dom is still painting from his Ramona, CA home where he does watercolors. He is thrilled to see so much interest in his work and amazed at your collection."

This was exciting news! Soon after, I was corresponding with Dom himself and his lovely wife, Maxine. At my request, Dom kindly wrote a detailed account of his career and today I'm honoured to share it with you. Dom Lupo, in his own words:

Just before graduation from High School in Waltham, MA, where I was born in 1919, the Boston chamber of commerce ran a contest for seniors to advertise Art Week in Boston; whereupon, I won a one year scholarship to the “Child Walker School of Design” in Boston. Following that year, the art school awarded me another three year scholarship.



In 1954 I was voted in as a member of the elite “Society of Illustrators” in New York where I still retain my membership.

Because of the interest I had in my own growing profession, I was influenced by and especially appreciated the artwork of Fred Ludekins, Al Parker, John Falter, Joe Bowler and many others of that same period.

When World War II started, I joined the Marines and was assigned to aerial photo unit VMD-254. Following four years in the service, Harvey Kidder – my best friend and artist who attended art school with me – and I moved to New York City to seek our fortunes.



Harvey and I both affiliated with the agency of Sutton and O’Brien.

(An example of Harvey Kidder's work from the mid-1950's below)


For the next fifteen years I worked on advertising and fiction illustrations for accounts such as General Telephone and Phelps Dodge Company. In 1963 I had a new agent, Jerry Benzinger, who asked me if I had ever done any golf art. I said “no.” Following that, he got me the job anyway and I worked exclusively for “Golf Magazine,” with my artwork appearing in every issue for the next 25 years. This was the best break of my career. I also worked for “Golf Digest” for a few years and during that period I illustrated over 30 golf books for touring professionals of both the PGA and LPGA.



In 1974 I was asked by the World Golf Hall of Fame to produce a painting of the original 13 PGA members. A few years later I produced a painting of the original members of the LPGA.


Still working for Golf Magazine, I moved to California in 1978 for the health of my wife, Mary, who had multiple sclerosis. Unfortunately, Mary died in 1981. All of my four children back east supported my staying in California. Four years later I married my professional friend, Maxine Van Evera, an author and member of the LPGA, who was living nearby and teaching at the San Diego Golf Academy. Together we revised a book she had written that is now in its 2nd edition with the title of “How To Master A Great Golf Swing” and a forward written by Sports Psychologist, Dr. Jay Brunza.” We’re both extremely proud of the success it continues to have.


Thanks again for your on-going interest in that glorious period of illustrative artwork. Although retired from illustrating, I continue to enjoy the world of art by doing watercolors and portraits. I've often said, I've made a living out of something I love that they've paid me to do.



* A note of thanks to Bill Vinson and Ginger Q. Casey of Moore-McCormack.com for granting me permission to use the final three illustrations in this post.

You can see all of today's images (with the exception of the Harvey Kidder piece) in my Dom Lupo Flickr set.