Here are some relevant notes on his personality (via Gemini chatbot). N type seems to be the strongest possibility, but an argument for NPA+ type might also be made - this concords with my recollection that Dr Benis once noted that the gestalt of Santa actors was frequently either N type or NPA+ type (in the latter cases Santa is an affably ebullient, paternalistic, booming-voiced, portly fellow). Soft-spoken, avuncular NP types might also constitute a common subset.
"Haddon Sundblom, widely known by the nickname "Sunny," was described by those who knew and worked with him as a warm, generous, and energetic figure who mirrored the "jolly" spirit of his most famous creation, the Coca-Cola Santa Claus.
His personality and professional demeanor are often characterized by the following traits:
Professional Demeanor
Generous and Modest: Colleagues and students noted that he was incredibly generous with his staff and modest about his significant impact on the illustration industry. His studios were considered a premier training ground for the next generation of artists.
"Deadline Artist" Energy: He was a famously fast painter, often completing multiple oil paintings in a single sitting using the alla prima (wet-on-wet) technique. He was known to work all through the night to meet deadlines.
Collaborative Spirit: Sundblom fostered a studio environment built on a "spontaneous spirit of good will" where members inspired each other and shared their abilities rather than competing.
Personal Traits and Lifestyle
Jovial and Mischievous: Much like his depictions of Santa, Sundblom was described as having a "sunny disposition" and a "fun-loving," sometimes mischievous nature.
Distinguished yet Relatable: While he was a "creative giant" who could be seen in high-end attire (like a $250 tuxedo in the 1940s), he remained a "human-sized" and approachable figure to those in his circle.
Resilient: Having lost his mother at a young age and dropped out of school to support his family, he was characterized by a strong work ethic and a commitment to a lifetime of learning through night classes and correspondence courses.
The "Sunny" Temperament
One of his apprentices, Coby Whitmore, recalled a humorous and somewhat eccentric side to Sundblom's personality. He noted that Sundblom would occasionally "fire" him from across the hall after spending the afternoon at a local bar, only to greet him the next morning with a friendly clap on the shoulder, completely disregarding the previous day's dismissal and encouraging him to "watch it in the future."
Ultimately, Sundblom is remembered as an artist who "captured the essence of happiness," a trait that was said to be reflected both in his luminous paintings and his personal interactions.
Beyond his "jolly" exterior, those who worked closely with Sundblom described a man of high standards, deep discipline, and a few unique quirks that made him a legendary figure in the Chicago art scene.
The "Master of Light" at Work
Sundblom’s personality was inextricably linked to his technique. He was described as a technical virtuoso who possessed an almost superhuman level of confidence at the easel.
Decisiveness: He didn't labor over sketches. Colleagues marveled at how he would approach a blank canvas with a "broad-shouldered" confidence, laying down thick, luminous strokes of oil paint that rarely needed correction.
The "Golden Glow": His peers noted that his personal optimism literally bled into his palette. He was obsessed with light and warmth, often using a "back-lighting" technique to give his subjects a healthy, angelic aura. This wasn't just a style; it was a reflection of how he chose to view the world.
Social Life and Style
Sundblom was a fixture of the high-society "Midwest Illustration" scene.
A "Bon Vivant": He lived a life that matched his art. He loved fine food, expensive clothes, and social gatherings. He was known for his urbane sophistication, often holding court at the London House or the Tavern Club in Chicago, surrounded by admirers and fellow artists.
The "Great Swedish Viking": Due to his heritage and his physical stature, friends often referred to him with nicknames that suggested a powerful, larger-than-life presence. He had a booming laugh and an "expansive" way of speaking that filled a room.
The Mentor and Critic
While "Sunny" was generally kind, he was a rigorous teacher to the "Sundblom Circle" (the young artists he mentored).
Quiet Authority: He didn't need to shout to lead. He led by example, often stepping up to a student's canvas and fixing a complex lighting problem with three perfect brushstrokes—an act that left his apprentices in a mix of awe and frustration at his ease.
Financial Generosity: He was famously "loose" with money. Stories suggest he would often pay his assistants more than they expected or pick up the tab for entire groups of struggling young illustrators, viewing it as his duty to support the craft.
A Self-Portrait in Character
Perhaps the best description of his personality comes from the fact that Sundblom used himself as his own model. When his original Santa model (Lou Prentiss) passed away, Sundblom began looking in the mirror to paint St. Nick.
"He realized that the twinkle in the eye and the creases of the smile he was looking for were already on his own face."
This suggests a man who was deeply self-aware and comfortable in his own skin—a personality that was genuinely happy rather than just performing for a client.
Public Persona: Unlike the stereotypical "brooding artist" who works in isolation, "Sunny" (as everyone called him) thrived on interaction. His nickname itself was a testament to his outward-facing, radiant energy.
Sundblom’s studio was not a quiet, monastic space. It was a bustling, collaborative hub of energy.
Mentor and Host: He loved surrounding himself with young talent. His studio, often called the "Sundblom Shop," was more like a social guild than a corporate office. He didn't just give notes; he engaged in lively, hands-on demonstrations and socialized with his apprentices after hours.
Collaborative Painting: He often worked with others in the room, thriving in the "spontaneous spirit of good will." He wasn't bothered by the noise or presence of others; in fact, he seemed to draw energy from the "shop" atmosphere.
Self-Reflection: The fact that he eventually used his own face as the model for Santa Claus suggests a healthy, outward confidence. He looked in the mirror and saw the "jolly, twinkling" figure the world wanted to see, and he was comfortable projecting that image back to them.
While he certainly had the focus required for high-level art, Sundblom's energy was recharged by people. He was a man of the city, a man of the studio, and a man who believed that the purpose of art was to connect with as many people as possible through warmth and optimism.
Impatience with Slow Work: Because Sundblom was a master of the alla prima (fast, wet-on-wet) technique, his frustration sometimes stemmed from seeing artists labor too cautiously. He believed in decisiveness; his "anger" at a canvas or a student's work often manifested as him stepping in to "correct" it with bold, aggressive brushstrokes to show how it should be done.
In short, his anger was described more as a boisterous, temporary flare-up rather than a stern or intimidating temperament. It was part of the "mischievous" and "mercurial" character that his friends and students came to expect and even find humorous."
https://www.coca-colacompany.com/about-us/history/haddon-sundblom-and-the-coca-cola-santas
https://en.wikipedia.org/wiki/Haddon_Sundblom
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