Legendary artist Drew Struzan, the mastermind behind many of the most recognizable film posters in the history of cinema, died Thursday at the age of 78.
The news was announced on his official Instagram page on October 13, which posted that Struzan had “moved on from this world.
It is with a great sadness that I have to inform you that Drew Struzan passed away from this world as of yesterday, October 13th,” the release stated. “I want to make sure you all know how many times he told me how happy he was knowing how much you loved his work.
Struzan’s professional life lasted more than half a century, and his hand-painted posters set the visual tone for many Hollywood blockbusters. Some of his most notable works include the posters for Indiana Jones and the Last Crusade, Star Wars: The Empire Strikes Back, Back to the Future, The Shawshank Redemption, The Thing, Blade Runner, and The Goonies. His dense, detailed paintings came to be recognized as the hallmark of cinematic adventure, nostalgia, and sentiment.
Prior to dominating the world of movies, Struzan started out as an album cover artist in the 1970s and 1960s, designing covers for iconic artists including The Bee Gees, Liberace, The Beach Boys, Earth, Wind & Fire, and Black Sabbath. His cover for Alice Cooper’s “Welcome to My Nightmare” was even ranked one of the greatest album covers of all time by Rolling Stone.
Struzan moved over to film poster design in the 1970s, initially doing work on B-movies before hitting the big time with a secondary poster for the theatrical re-release of Star Wars. That work set him up as a master of film illustration and soon enough had him as one of the most in-demand poster artists in Hollywood.
By the 1980s, Struzan was churning out almost 10 big motion picture posters per annum, closely working with George Lucas and Steven Spielberg. His art collaborative effort with Spielberg led to iconic work for movies like E.T. the Extra-Terrestrial, Hook, and Indiana Jones and the Temple of Doom.
Struzan also designed the imagery for Coming to America, Big Trouble in Little China, First Blood, Hellboy, and even the American poster for Harry Potter and the Philosopher’s Stone. His work was immediately recognizable – a combination of emotion, realism, and fantasy, painted with warmth that brought his subjects to life.
In a 2021 interview, Struzan reflected on what made his approach unique: “I had to do something different, and the trouble with a lot of early movie posters is that they looked too much like classic illustration, which feels like it’s telling the whole story,” he explained. “I wasn’t looking to tell a story. I’m looking to give a person a feeling about something they could hope for.”
Struzan’s art philosophy – that the poster ought to stir emotion, not betray the plot – became the key to his success. His paintings did not merely promote films; they embodied their essence and spirit and often became as iconic as the movies themselves.
His wife earlier this year posted on Facebook in March that he was diagnosed with Alzheimer’s disease. “Drew can no longer paint or sign for you,” she wrote. “He is not enjoying a well-deserved retirement but fighting for his life.”
On hearing of his death, there was an outpouring of tributes from all over the entertainment world. DC Comics boss Jim Lee described him as “a giant among giants,” saying, “His work expressed the humanity, power, and emotion of his subjects in ways not witnessed since. Thank you for making all the tentpole moments of my childhood – and well beyond – come alive.”
Drew Struzan’s death brings to a close an era of movie art. His posters did not merely advertise films – they set generations of film audiences’ imaginations afire, bringing visual life to tales that became cultural touchstones. His work lives on eternally, continuing to influence illustrators, filmmakers, and audiences everywhere.
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