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・ Clifford Benjamin Peterson
・ Cliff Sloan
・ Cliff Smailes
・ Cliff Smalls
・ Cliff Smith
・ Cliff Solway
・ Cliff Sparks
・ Cliff Speck
・ Cliff Speegle
・ Cliff Spink
・ Cliff Spring Trail
・ Cliff stabilization
・ Cliff Stanford
・ Cliff Stearns
・ Cliff Stephens Park
Cliff Sterrett
・ Cliff Stewart
・ Cliff Stoudt
・ Cliff Sutter
・ Cliff Swain
・ Cliff Taylor
・ Cliff Taylor (American football)
・ Cliff Taylor (Australian footballer)
・ Cliff Taylor (journalist)
・ Cliff Temple
・ Cliff Theater
・ Cliff Thompson
・ Cliff Thorburn
・ Cliff Thorley
・ Cliff Thornton


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Cliff Sterrett : ウィキペディア英語版
Cliff Sterrett


Clifford Sterrett (; December 12, 1883 – December 28, 1964), was an American cartoonist best known as the creator of the comic strip ''Polly and Her Pals''.
Born in Fergus Falls, Minnesota, where his father was a druggist, Cliff Sterrett was of Scandinavian ancestry. His mother died when he was two; Cliff and his younger brother Paul were then raised by a maiden aunt, Sallie Johnson, after their father moved to Seattle.
With a letter of introduction from a local Episcopal clergyman, the 18-year-old Sterrett moved to New York, where he enrolled in the Chase Art School for two years of study. He signed on at the ''New York Herald'' in 1904 as a staff art assistant and submitted cartoons to the ''New York Telegram'', embarking on his first comic strips: ''Ventriloquial Vag'', ''Merry Ha-Ha'', ''When a Man’s Married'', ''Before and After'' and ''For This We Have Daughters''. Leaving the ''Telegram'', he drew illustrations for ''The New York Times''.
==''Polly and Her Pals''==

At the ''New York Evening Journal'' he launched ''Polly and Her Pals'' (originally called ''Positive Polly'') in 1912. By the mid-1920s, Sterrett had turned the daily strip over to others (notably Paul Fung and Vernon Greene) in order to concentrate on the Sunday strip. Sterrett also created the Sunday topper strips ''Dot and Dash'' and ''Belles and Wedding Belles''.
As the 1920s continued, Sterrett's work was increasingly influenced by the abstract art of that decade, incorporating "striking patterns of abstraction much in the style of cubism and surrealism." Coulton Waugh regarded this as an innovative step forward, noting that Sterrett's style "appeared in ''Polly'' long before modern art was accepted by American art critics."

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