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Governess: *screaming* NNNNIIIIIGGGEEELLLL!!!!! This child has brought yet another dead animal into this house and this time she has dressed them all in her doll clothes!!!! Beatrix! How will we ever marry you into a good family!?!
So silliness aside I have always been a huge fan of Beatrix Potter and I remember hearing as a child that she practiced sketching from dead animals she had found. Not sure about that but thought it would make a funny pic. But I Wiki-ed her today and found the most interesting fact about her:
From Wiki:
Scientific illustrations and work in mycology[edit]
Beatrix Potter's parents did not discourage higher education. As was common in the Victorian era, women of her class were privately educated and rarely went to university.[22]
Beatrix Potter was interested in every branch of natural science save astronomy.[23] Botany was a passion for most Victorians and nature study was a popular enthusiasm. Potter was eclectic in her tastes: collecting fossils,[24] studying archeological artefacts from London excavations, and interested in entomology. In all these areas she drew and painted her specimens with increasing skill. By the 1890s her scientific interests centred on mycology. First drawn to fungi because of their colours and evanescence in nature and her delight in painting them, her interest deepened after meeting Charles McIntosh, a revered naturalist and mycologist, during a summer holiday in Dunkeld in Perthshire in 1892. He helped improve the accuracy of her illustrations, taught her taxonomy, and supplied her with live specimens to paint during the winter. Curious as to how fungi reproduced, Potter began microscopic drawings of fungus spores (the agarics) and in 1895 developed a theory of their germination.[25] Through the connections of her uncle Sir Henry Enfield Roscoe, a chemist and vice-chancellor of the University of London, she consulted with botanists at Kew Gardens, convincing George Massee of her ability to germinate spores and her theory of hybridisation.[26] She did not believe in the theory of symbiosis proposed by Simon Schwendener, the German mycologist, as previously thought; rather she proposed a more independent process of reproduction.[27]
Rebuffed by William Thiselton-Dyer, the Director at Kew, because of her gender and her amateur status, Beatrix wrote up her conclusions and submitted a paper, On the Germination of the Spores of the Agaricineae, to the Linnean Society in 1897. It was introduced by Massee because, as a female, Potter could not attend proceedings or read her paper. She subsequently withdrew it, realising that some of her samples were contaminated, but continued her microscopic studies for several more years. Her paper has only recently been rediscovered, along with the rich, artistic illustrations and drawings that accompanied it. Her work is only now being properly evaluated.[28][29][30] Potter later gave her other mycological and scientific drawings to the Armitt Museum and Library in Ambleside, where mycologists still refer to them to identify fungi. There is also a collection of her fungus paintings at the Perth Museum and Art Gallery in Perth, Scotland donated by Charles McIntosh. In 1967 the mycologist W.P.K. Findlay included many of Potter's beautifully accurate fungus drawings in his Wayside & Woodland Fungi, thereby fulfilling her desire to one day have her fungus drawings published in a book.[31] In 1997 the Linnean Society issued a posthumous apology to Potter for the sexism displayed in its handling of her research.[32]
This is another page from my magazine. The entire backbone of the mag was about the new 1% fat milk 'the One' from Wisemans Milk. So, naturally, that theme oozes throughout the design.
Amazing Stories Quarterly / Heft-Reihe
- Stanton A. Coblentz / The Sunken World
(art: Frank R. Paul)
Editor: Hugo Gernsback
Verlag: Experimenter Publishing Co. / USA 1928
Reprint: Comic-Club NK 2010
ex libris MTP
Bob Cusack, Editor-in-Chief of The Hill, interviews Sen. Bill Cassidy (R-La.) during a policy briefing entitled “Prioritizing Patients: A Discussion on Outcomes-Based Care” sponsored by The Value Collaborative, PhRMA, and The Hill at the Council on Foreign Relations in Washington, D.C., on Tuesday, June 13, 2017.
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Alfred Hitchcock (editor) - Bar the Doors
Dell Books F166, 1962
Cover: photo design by Walter Brooks and Jeanette Cissman
"13 Great Tales of Terror by Masters of the Macabre."
Ghost-edited by Don Ward, containing:
H.G. Wells - Pollock and the Porroh Man
McKnight Malmar - The Storm
Alexander Woollcott - Moonlight Sonata
DuBose Heyward - The Half-Pint Flask
Peter Fleming - The Kill
F. Marion Crawford - The Upper Berth
Alfred Noyes - Midnight Express
Ambrose Bierce - The Damned Thing
August Derleth - The Metronome
Martin Armstrong - The Pipe-Smoker
Samuel Hopkins Adams - The Corpse at the Table
Wilbur Daniel Steele - The Woman at Seven Brothers
Margaret Irwin - The Book
8mm and Super 8 film editor purchased new by me in 1974. Took it out of box for probably first time in 20 years today and found the original sales docket from Michaels in Melbourne for $29.50.
iPad photo
It's best to go to the LARGE size immediately.
A panorama made of three photos. I'm using Microsofts free Image Composited Editor (ICE) which is not only the easiest, but has the best results of any "stitching" software I've used.
research.microsoft.com/en-us/um/redmond/groups/ivm/ICE/
I've also started to use Adobe Lightroom 2.3 some of the time. I like the fact that it it keeps the original image intact without modification, while making all adjustments in a sort of "script".
Here are some facts about crater Lake:
Crater Lake is the deepest lake in the USA
Crater Lake depth: 1932 feet
Average depth of Crater Lake: 1500 feet
lake width: 6 miles
Wizard Island elevation: 6940 feet above sea level
Wizard Island height above water: 764 feet
Crater Lake Rim elevation: 7100 feet
8058-08060 pano_lr
What is a good text editor on Linux
If you would like to use this photo, be sure to place a proper attribution linking to xmodulo.com
JACK KIRBY
Western Tales 33
Birth nameJacob Kurtzberg
BornAugust 28, 1917
New York City. New York
Died February 6, 1994 (aged 76)
Thousand Oaks, California
NationalityAmerican
Area(s)Penciller, Inker, Writer, Editor
Pseudonym(s)The King
Notable worksMarvel Comics
AwardsAlley Award
*Best Pencil Artist (1967), plus many awards for individual stories
Shazam Award
*Special Achievement by an Individual (1971)
Jack Kirby (August 28, 1917 – February 6, 1994) was one of the most influential, recognizable, and prolific artists in American comic books, and the co-creator of such enduring characters and popular culture icons as the Fantastic Four, the X-Men, the Hulk, Captain America and hundreds of others stretching back to the earliest days of medium. He was also a comic book writer and editor. His most common nickname is The King.
He was inducted into comic books' Shazam Awards Hall of Fame in 1975.
The Jack Kirby Award for achievement in comic books was named in his honor.
Early life
Born Jacob Kurtzberg to Jewish Austrian parents in New York City, he grew up on Suffolk Street in New York's Lower East Side Delancey Street area, attending elementary school at P.S. 20. His father, Benjamin, a garment-factory worker, was a Conservative Jew, and Jacob attended Hebrew school. Jacob's one sibling, a brother five years younger, predeceased him. After a rough-and-tumble childhood with much fighting among the kind of kid gangs he would render more heroically in his future comics (Fantastic Four's Jewish Ben Grimm was raised on rough-and-tumble "Yancy Street", and was predeceased by his older brother; in addition to sharing Kirby's father's first name, his middle name is Jacob, Kirby's first name at birth), Kirby enrolled at the Pratt Institute in Brooklyn, at what he said was age 14, leaving after a week. "I wasn't the kind of student that Pratt was looking for. They wanted people who would work on something forever. I didn't want to work on any project forever. I intended to get things done".[1]
Essentially self-taught, Kirby cited among his influences the comic strip artists Alex Raymond and Milton Caniff.
The Golden Age of Comics
Captain America Comics #1 (March 1941), art by Jack Kirby (penciler) and Joe Simon (inker).
Per his own sometimes-unreliable memory, Kirby joined the Lincoln Newspaper Syndicate in 1936, working there on newspaper comic strips and on single-panel advice cartoons such as Your Health Comes First (under the pseudonym "Jack Curtiss"). He remained until late 1939, then worked for the movie animation company Fleischer Studios as an "in-betweener" (an artist who fills in the action between major-movement frames,) on Popeye cartoons. "I went from Lincoln to Fleischer," he recalled. "From Fleischer I had to get out in a hurry because I couldn't take that kind of thing," describing it as "a factory in a sense, like my father's factory. They were manufacturing pictures."
Around this time, "I began to see the first comic books appear". The first American comic books were reprints of newspaper comic strips; soon, these tabloid-size, 10-inch by 15-inch "Comic books" began to include original material in comic-strip form. Kirby began writing and drawing such material for the comic book packager Eisner & Iger, one of a handful of firms creating comics on demand for publishers. Through that company, Kirby did what he remembers as his first comic book work, for Wild Boy Magazine. This included such strips as the science fiction adventure The Diary of Dr. Hayward (under the pseudonym "Curt Davis"), the Western crimefighter strip Wilton of the West (as "Fred Sande"), the swashbuckler strip "The Count of Monte Cristo" (again as "Jack Curtiss"), and the humor strips Abdul Jones (as "Ted Grey)" and Socko the Seadog (as "Teddy"), all variously for Jumbo Comics and other Eisner-Iger clients. Kirby was also helpful beyond his artwork when he once frightened off a mobster who was strongarming Eisner for their building's towel service.
Kirby moved on to comic-book publisher and newspaper syndicator Fox Feature Syndicate, earning a then-reasonable $15 a week salary. He began exploring superhero narrative with the comic strip The Blue Beetle (January–March 1940), starring a character created by the pseudonymous Charles Nicholas, a house name that Kirby retained for the three-month-long strip.
Simon & Kirby
During this time, Kirby met and began collaborating with cartoonist and Fox editor Joe Simon, who in addition to his staff work continued to freelance. Speaking at a 1998 Comic-Con International panel in San Diego, California, Simon recounted the meeting:
“
I had a suit and Jack thought that was really nice. He'd never seen a comic book artist with a suit before. The reason I had a suit was that my father was a tailor. Jack's father was a tailor too, but he made pants! Anyway, I was doing freelance work and I had a little office in New York about ten blocks from DC's and Fox [Feature Syndicate]'s offices, and I was working on Blue Bolt for Funnies, Inc. So, of course, I loved Jack's work and the first time I saw it I couldn't believe what I was seeing. He asked if we could do some freelance work together. I was delighted and I took him over to my little office. We worked from the second issue of Blue Bolt...
and remained a team across the next two decades. In the early 2000s, original art for an unpublished, five-page Simon & Kirby collaboration titled "Daring Disc", which may predate the duo's Blue Bolt, surfaced. Simon published the story in the 2003 updated edition of his autobiography, The Comic Book Makers.
After leaving Fox and landing at pulp magazine publisher Martin Goodman's Timely Comics (the future Marvel Comics), the new Simon & Kirby team created the seminal patriotic hero Captain America in late 1940. Their dynamic perspectives, groundbreaking use of centerspreads, cinematic techniques and exaggerated sense of action made the title an immediate hit and rewrote the rules for comic book art. Simon and Kirby also produced the first complete comic book starring Captain Marvel for Fawcett Comics.
Captain America became the first and largest of many hit characters the duo would produce. The Simon & Kirby name soon became synonymous with exciting superhero comics, and the two became industry stars whose readers followed them from title to title. A financial dispute with Goodman led to their decamping to National Comics, one of the precursors of DC Comics, after ten issues of Captain America. Given a lucrative contract at their new home, Simon & Kirby took over the Sandman in Adventure Comics, and scored their next hits with the "kid gang" teams the Boy Commandos and the Newsboy Legion, and the superhero Manhunter.
Kirby married Rosalind "Roz" Goldstein (September 25, 1922–December 22, 1998) on May 23, 1942. The couple would have four children: Susan, Neal, Barbara and Lisa. The same year that he married, he changed his name legally from Jacob Kurtzberg to Jack Kirby. The couple was living in Brighton Beach, Brooklyn, when Kirby was drafted into the U.S. Army in the late autumn of 1943. Serving with the Third Army combat infantry, he landed in Normandy, on Omaha Beach, 10 days after D-Day.
As superhero comics waned in popularity after the end of World War II, Kirby and his partner began producing a variety of other genre stories. They are credited with the creation of the first romance title, Young Romance Comics at Crestwood Publications, also known as Prize Comics. In addition, Kirby and Simon produced crime, horror, western and humor comics.
After Simon
Sky Masters comic strip by Kirby & Wally Wood.
The Kirby & Simon partnership ended amicably in 1955 with the failure of their own Mainline Publications. Kirby continued to freelance. He was instrumental in the creation of Archie Comics' The Fly and Harvey Comics' Double Life of Private Strong reuniting briefly with Joe Simon. He also drew some issues of Classics Illustrated.
For DC Comics, then known as National Comics, Kirby co-created with writers Dick & Dave Wood the non-superpowered adventuring quartet the Challengers of the Unknown in Showcase #6 (Feb. 1957), while also contributing to such anthologies as House of Mystery. In 30 months at DC, Kirby drew lightly over 600 pages, which included 11 Green Arrow stories in World's Finest Comics and Adventure Comics that, in a rarity, Kirby inked himself. He also began drawing a newspaper comic strip, Sky Masters of the Space Force, written by the Wood brothers and initially inked by the unrelated Wally Wood.
Kirby left National Comics after a contractual dispute in which editor Jack Schiff, who had been involved in getting Kirby and the Wood brothers the Sky Masters contract, claimed he was due royalties from Kirby's share of the strip's profits. Schiff sued Kirby and was successful at trial.
Stan Lee and Marvel Comics
Kirby also worked for Marvel, on the cusp of the company's evolution from its 1950s incarnation as Atlas Comics, beginning with the cover and the seven-page story "I Discovered the Secret of the Flying Saucers" in Strange Worlds #1 (Dec. 1958).[9] Kirby would draw across all genres, from romance to Western (the feature "Black Rider") to espionage (Yellow Claw), but made his mark primarily with a series of monster, horror and science fiction stories for the company's many anthology series, such as Amazing Adventures, Strange Tales, Tales to Astonish and Tales of Suspense. His bizarre designs of powerful, unearthly creatures proved a hit with readers. Then, with Marvel editor-in-chief Stan Lee, Kirby began working on superhero comics again, beginning with The Fantastic Four #1 (Nov. 1961). The landmark series became a hit that revolutionized the industry with its true-to-life naturalism and, eventually, a cosmic purview informed by Kirby's seemingly boundless imagination — one coincidentally well-matched with the consciousness-expanding youth culture of the 1960s.
For almost a decade, Kirby provided Marvel's house style, co-creating/designing many of the Marvel characters and providing layouts for new artists to draw over. Highlights besides the Fantastic Four include Thor, the Incredible Hulk, Iron Man, the original X-Men, the Silver Surfer, Doctor Doom, Galactus, The Watcher, Magneto, Ego the Living Planet, the Inhumans and their hidden city of Attilan, and the Black Panther — comics' first known Black superhero — and his African nation of Wakanda. Simon & Kirby's Captain America was also incorporated into Marvel's continuity.
In 1968 and 1969, Joe Simon was involved in litigation with Marvel Comics over the ownership of Captain America, initiated by Marvel after Simon registered the copyright renewal for Captain America in his own name. According to Simon, Kirby agreed to support the company in the litigation and, as part of a deal Kirby made with publisher Martin Goodman, signed over to Marvel any rights he might have had to the character.
Kirby continued to expand the medium's boundaries, devising photo-collage covers and interiors, developing new drawing techniques such as the method for depicting energy fields now known as 'Kirby Dots', and other experiments. Yet he grew increasingly dissatisfied with working at Marvel. There have been a number of reasons given for this dissatisfaction, including resentment over Stan Lee's increasing media prominence, a lack of full creative control, anger over breaches of perceived promises by publisher Martin Goodman, and frustration over Marvel's failure to credit him specifically for his story plotting and for his character creations and co-creations. He began to both script and draw some secondary features for Marvel, such as "The Inhumans" in Amazing Adventures and horror stories for the anthology title Chamber of Darkness, and received full credit for doing so; but he eventually left the company in 1970 for rival DC Comics, under editorial director Carmine Infantino.
Kirby returned to DC in the early 1970s, under an arrangement that gave him full creative control as editor, writer and artist. He produced a cycle of inter-linked titles under the blanket sobriquet The Fourth World including a trilogy of new titles, New Gods, Mister Miracle, and The Forever People, as well as the Superman title, Superman's Pal Jimmy Olsen which he worked on at the publisher's request. Kirby claims to have picked this Superman family book because the series was between artists and he did not want to cost anyone a job. The central villain of the Fourth World series, Darkseid, and some of the Fourth World concepts appeared in Jimmy Olsen before the launch of the other Fourth World books, giving the new titles greater exposure to potential buyers.
Kirby later produced other DC titles such as OMAC, Kamandi, The Demon, and (together with former partner Joe Simon for one last time) a new incarnation of the Sandman. Several characters from this period have since become fixtures in the DC universe, including the demon Etrigan and his human counterpart Jason Blood; Scott Free (Mister Miracle), and the cosmic villain Darkseid.
Kirby then returned to Marvel Comics where he both wrote and drew Captain America and created the series The Eternals, which featured a race of inscrutable alien giants, the Celestials, whose behind-the-scenes intervention influenced the evolution of life on Earth. Kirby's other Marvel creations in this period include Devil Dinosaur, Machine Man, and an adaptation and expansion of the movie 2001: A Space Odyssey. He also wrote and drew The Black Panther and did numerous covers across the line.
Although often artistically successful, the books did not connect with an audience to the same extent as his earlier work for Marvel in the 1960s. Many of the themes of his 1970s work - aging and immortality, helplessness in the face of unknowable and inconceivable powers beyond one's control - were those of a man in late middle age and were not likely to connect with younger readers.
Still dissatisfied with Marvel's treatment of him, and their refusal to provide health and other employment benefits, Kirby left Marvel to work in animation, where he did designs for Turbo Teen, Thundarr the Barbarian and other animated television series. He also worked on The Fantastic Four cartoon show, reuniting him with scriptwriter Stan Lee. He illustrated an adaptation of the Walt Disney movie The Black Hole for Walt Disney's Treasury of Classic Tales syndicated comic strip in 1979-80.
In the early 1980s, Pacific Comics, a new, non-newsstand comic book publisher, made a then-groundbreaking deal with Kirby to publish his series Captain Victory and the Galactic Rangers: Kirby would retain copyright over his creation and receive royalties on it. This, together with similar actions by other "independents" such as Eclipse Comics, helped establish a precedent for other professionals and end the monopoly of the "work for hire" system, wherein comics creators, even freelancers, had owned no rights to characters they created. Kirby also retained ownership of characters used by Topps Comics beginning in 1993, for a set of series in what the company dubbed "The Kirbyverse".
In 1985, screenwriter and comic-book historian Mark Evanier revealed that thousands of pages of Kirby's artwork had been lost by Marvel Comics. These pages became the subject of a dispute between Kirby and that company. In 1987, in exchange for his giving up any claim to copyright, Kirby received from Marvel the 2,100 pages of his original art that remained in its possession. The disposition of Kirby's art for DC, Fawcett, and numerous other companies has remained uncertain.
Kirby's daughter, Lisa Kirby, announced in early 2006 that she and co-writer Steve Robertson, with artist Mike Thibodeaux, plan to published a six-issue miniseries, Jack Kirby's Galactic Bounty Hunters, featuring characters and concepts created by her father.
Awards and honors
Jack Kirby received a great deal of recognition over the course of his career, including the 1967 Alley Award for Best Pencil Artist. The following year he was runner-up behind Jim Steranko. His other Alley Awards were:
*1963: Favorite Short Story - "The Human Torch Meets Captain America,", by Stan Lee & Jack Kirby, Strange Tales #114
*1964: Best Novel - "Captain America Joins the Avengers", by Stan Lee & Jack Kirby, from The Avengers #4
*1964: Best New Strip or Book - "Captain America", by Stan Lee & Jack Kirby, in Tales of Suspense
*1965: Best Short Story - "The Origin of the Red Skull", by Stan Lee & Jack Kirby, Tales of Suspense #66
*1966: Best Professional Work, Regular Short Feature - "Tales of Asgard" by Stan Lee & Jack Kirby, in The Mighty Thor
*1967: Best Professional Work, Regular Short Feature - (tie) "Tales of Asgard" and "Tales of the Inhumans", both by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Best Regular Short Feature - "Tales of the Inhumans", by Stan Lee & Jack Kirby, in The Mighty Thor
*1968: Best Professional Work, Hall of Fame - Fantastic Four, by Stan Lee & Jack Kirby; Nick Fury, Agent of S.H.I.E.L.D., by Jim Steranko[10]
Kirby won a Shazam Award for Special Achievement by an Individual in 1971 for his "Fourth World" series in Forever People, New Gods, Mister Miracle, and Superman's Pal Jimmy Olsen. He was inducted into the Shazam Awards Hall of Fame in 1975.
His work was honored posthumously with the 1998 Harvey Award for Best Domestic Reprint Project, for Jack Kirby's New Gods by Jack Kirby, edited by Bob Kahan.
The Jack Kirby Awards and Jack Kirby Hall of Fame were named in his honor.
In 2006, he was voted the #1 artist on Comic Book Resources ' All Time Top 100 Writers and Artists. With Will Eisner, Robert Crumb, Harvey Kurtzman, Gary Panter and Chris Ware, Kirby was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, New York, from Sept. 16, 2006 to Jan. 28, 2007.
Legacy
Kirby is popularly acknowledged by comics creators and fans as one of the greatest and most influential artists in the history of comics. His output was legendary, with one count estimating that he produced over 25,000 pages during his lifetime, as well as hundreds of comic strips and sketches. He also produced paintings, and worked on concept illustrations for a number of Hollywood films.
The most imitated aspect of Kirby's work has been his exaggerated perspectives and dynamic energy. Less easy to imitate have been the expressive body language of his characters, who embrace each other and charge into everything from battle to pancakes with unselfconscious exuberance; and such constantly forward-looking innovations as the then cutting-edge photomontages he often used. He (along with fellow Marvel creator Steve Ditko) pioneered the use of visible minority characters in comic books, and Kirby co-created the first black superhero at Marvel (the African prince the Black Panther) and created DC's first two black superheroes: Vykin the Black in The Forever People #1 (March 1971) and the Black Racer in The New Gods #3 (July 1971).
Kirby: King of Comics (Hardcover)
by Mark Evanier (Author), Neil Gaiman (Introduction)
Editorial Reviews
From Publishers Weekly
As a teenager, future television and comics writer Evanier became an assistant to Jack Kirby, one of the foremost artists in the history of American comics. Kirby played a major role in shaping the superhero genre, not only through his innovative, dynamic artwork but through collaborating with Stan Lee to create classic Marvel characters like the Fantastic Four, the Hulk and the X-Men. Evanier has now written this magnificently illustrated biography of his mentor. Rather than employing the academic prose that one might expect from an art book, Evanier, a talented raconteur, tells Kirby's life story in an informal, entertaining manner. Although Evanier does not delve into psychological analysis, he brings Kirby's personality vividly alive: a child of the Great Depression, a creative visionary who struggled most of his life to support his family. The book recounts how Kirby was insufficiently appreciated by clueless corporate executives and close-minded comics professionals. But the stunning artwork in this book, taken from private collections, makes the case for Kirby's genius. A landmark work, this is essential reading for comics fans and those who want to better understand the history of the comics medium—or those who just want to enjoy Kirby's incredible artwork. (Mar.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Product Description
Jack Kirby created or co-created some of comic books’ most popular characters including Captain America, The X-Men, The Hulk, The Fantastic Four, The Mighty Thor, Darkseid, and The New Gods. More significantly, he created much of the visual language for fantasy and adventure comics. There were comics before Kirby, but for the most part their page layout, graphics, and visual dynamic aped what was being done in syndicated newspaper strips. Almost everything that was different about comic books began in the forties on the drawing table of Jack Kirby. This is his story by one who knew him well—the authorized celebration of the one and only “King of Comics” and his groundbreaking work.
“I don’t think it’s any accident that . . . the entire Marvel universe and the entire DC universe are all pinned or rooted on Kirby’s concepts.” —Michael Chabon
About the Author
Mark Evanier met Jack Kirby in 1969, worked as his assistant, and later became his official biographer. A writer and historian, Evanier has written more than 500 comics for Gold Key, DC Comics, and Marvel Comics, several hundred hours of television (including Garfield) and is the author of several books including Mad Art (2002). He has three Emmy Award nominations, and received the Lifetime Achievement Award for animation from the Writers Guild of America.
Mark Evanier
Kirby, Jack: Jack Kirby (American, 1917-1994) : Jack Kirby has received world-wide recognition for his long comic book career and accomplishments. He is regarded by historians and fans as one of the major innovators and most influential creators in the comic-book medium, thus earning the nick-name "King." Among Kirby's many co-creations are Captain America, the Newsboy Legion, the Challengers of the Unknown, the Fantastic Four, the Hulk, Thor, the Avengers, the X-Men, Silver Surfer, the New Gods, and countless other memorable heroes and villains.
DECONSTRUCTING ROY LICHTENSTEIN™ © 2000
David Barsalou MFA Hartford Art School
Models:Ilaria(left) & Arianna(right)
Photographer&Editor: Me
This photo is part of a project I recently worked on (for uni). We were asked to analyze the social context of the area where our university is located. I focused on those who work there and the relationships they build. I told a story based on fixed gazes and stiff poses, similarities and contrasts, distances and uncaring attitudes. My models were supposed to represent two working women who spent their working days together without actually knowing each other (in this pic, you can see them arriving at work). The concept was supported by the alienating architecture (that characterizes the area) and the dominant colours.
CARMINE INFANTINO
Flash 137
Carmine Infantino
BornMay 24, 1925
NationalityAmerican
Area(s) Penciller, Editor
Notable works Flash (Barry Allen)
Awards National Cartoonists Society Award, various Alley awards
Carmine Infantino (born May 24, 1925) is an American comic book artist and editor who was a major force in the Silver Age of Comic Books. He was inducted into the Comic Book Hall of Fame in 2000.
Early life and career
Carmine Infantino was born in Brooklyn, New York City.
He attended Public Schools 75 and 85 in Brooklyn before going on the High School of Industrial Arts (now the High School of Art and Design) in Manhattan. During his freshman year of high school, Infantino began working for the quirkily named Harry "A" Chesler, whose studio was one of a handful of comic-book "packagers" who created complete comics for publishers looking to enter the emerging field in the 1930s-1940s Golden Age of Comic Books. As Infantino recalled
“I used to go around as a youngster into companies, go in and try to meet people -- nothing ever happened. One day I went to this place on 23rd Street, this old broken-down warehouse, and I met Harry Chesler. Now, I was told he was a mean guy and he used people and he took artists. But he was very sweet to me. He said, 'Look, kid. You come up here, I'll give you a dollar a day, just study art, learn, and grow.' That was damn nice of him, I thought. He did that for me for a whole summer.”
Infantino, who also attended night classes at the Art Students League, became an art assistant at Quality Comics the following summer. Later, at Timely Comics, the Golden Age precursor of Marvel, Infantino got his first job drawing comics. With friend and high-school classmate Frank Giacoia penciling, Infanto inked the debut of the feature "Jack Frost" in USA Comics #1 (Aug. 1941). Infantino would eventually work for several publishers during the decade, drawing Airboy and the Heap for Hillman Periodicals; working for packager Jack Binder, who supplied Fawcett Comics; briefly at Holyoke; then landing at DC Comics, where he became a regular atist of the Golden Age Flash, Black Canary, Green Lantern and Justice Society of America.
During the 1950s, Infantino freelanced for Joe Simon and Jack Kirby's company, Prize Comics, drawing the series Charlie Chan, which in particular shows the influence both of Kirby's and Milton Caniff's art styles. Back at DC, during a lull in the popularity of superheroes, Infantino drew Westerns, mysteries, science fiction comics. As his style evolved, he began to shed both the Kirbyisms and the gritty shading of Caniff, and develop a clean, linear style.
The Silver Age
In 1956, DC editor Julius Schwartz assigned writer Robert Kanigher and artist Infantino to the company's first attempt at reviving superheroes: an updated version of the Flash that would appear in issue #4 (Oct. 1956) of the try-out series Showcase. Infantino designed the now-classic red uniform with yellow detail, striving to keep the costume as streamlined as possible, and he drew on his design abilities to create a new visual language to depict the Flash's speed, making the figure a red and yellow blur. The eventual success of the new, science-fictiony Flash heralded the wholesale return of superheroes, and the beginning of what fans and historians call the Silver Age of comics.
Showcase #4 (Oct. 1956): The Silver Age starts. Art by Carmine Infantino and Joe Kubert.
Infantino continued to work for Schwartz in his other features and titles, most notably "Adam Strange" in Strange Adventures, replacing Mike Sekowsky. In 1964, Schwartz was made responsible for reviving the faded Batman titles. Writer John Broome and artist Infantino jettisoned the sillier aspects that had crept into the series (such as (Ace the Bathound, and Bat-Mite) and gave the "New Look" Batman and Robin a more detective-oriented direction and sleeker draftsmanship that proved a hit combination. Other features and characters Infantino drew at DC include "The Space Museum", and Elongated Man
For his work in this period, he tied for the 1958 National Cartoonists Society award for the Comic Book Division.
After Wilson McCoy, the artist of The Phantom comic strip, died, Infantino finished one of his last stories. Infantino was a candidate for taking over the Phantom Sunday strip after McCoy's death, but the job was instead given to Sy Barry.
DC Comics editorial director
In 1967, Infantino was tasked with designing covers for the entire DC line. When DC was sold to Kinney National Company, Infantino was promoted to editorial director. He started by hiring new talent, and promoting artists to editorial positions. He hired Dick Giordano away from Charlton Comics, and made artists Joe Orlando, Joe Kubert and Mike Sekowsky editors. New talents such as Neal Adams and Denny O'Neil were injected into the company.
Infantino was made publisher in 1971, during a time of declining circulation for DC's comics. Infantino attempted a number of changes, including the launch of starting several new titles. Older characters including Green Lantern, Green Arrow, Superman, Wonder Woman and, again, Batman were revamped to mixed results.
The same year he was made publisher, Infantino scored a major coup in signing on Marvel Comics' star artist, Jack Kirby. Beginning with Jimmy Olsen, Kirby created his Fourth World saga that wove through that existing title and three new series he created. With sales of his comics landing below expectations, however, the titles were eventually canceled and a few years later Kirby went back to working at Marvel Comics.
In an effort to raise revenue, Infantino raised the cover price of DC's comics from 15 to 25 cents, simultaneously raising the page count by adding reprints and new backup features. Marvel met the price increase, then dropped back to 20 cents; Infantino stayed at 25 cents, a decision that ultimately proved bad for over-all sales.
After working with writer Mario Puzo on the Superman movie, Infantino collaborated with Marvel on the historic company-crossover publication Superman vs. Spider-Man. Yet before sales on that hit book had been recorded, Warner Communications replaced Infantino with Jenette Kahn, a person new to the comics field. Mr. Infantino returned to drawing freelance.
Later career
Infantino later drew for a number of titles for Warren Publishing and Marvel, including the latter's Star Wars, Spider-Woman, and Nova. In the 1980s, he again drew the Flash for DC. As of 2005, Infantino is retired, although he is often a guest at comic book conventions. Vanguard Productions published his autobiography The Amazing World of Carmine Infantino (ISBN 1-887591-12-5).
Awards
Infantino's awards include:
*1958 National Cartoonists Society Award, Best Comic Book
*1961 Alley Award, Best Single Issue: The Flash #123 (with Gardner Fox)
*1961 Alley Award, Best Story: "Flash of Two Worlds", The Flash #123 (with Gardner Fox)
*1961 Alley Award, Best Artist
*1962 Alley Award, Best Book-Length Story: "The Planet that Came to a Standstill!", Mystery in Space #75 (with Gardner Fox)
*1962 Alley Award, Best Pencil Artist
*1963 Alley Award, Best Artist
*1964 Alley Award, Best Short Story: "Doorway to the Unknown", The Flash #148 (with John Broome)
*1964 Alley Award, Best Pencil Artist
*1964 Alley Award, Best Comic Book Cover (Detective Comics #329 with Murphy Anderson)
*1967 Alley Award, Best Full-Length Story: "Who's Been Lying in My Grave?", Strange Adventures #205 (with Arnold Drake)
*1967 Alley Award, Best New Strip: "Deadman" in Strange Adventures (with Arnold Drake)
*1969 special Alley Award for being the person "who exemplifies the spirit of innovation and inventiveness in the field of comic art"
Categories: | American comics artists | Batman artists | Comic book editors | DC Comics executives | Flash (comics) artists |
It would seem that Lichtenstein was even less original than many of his existing detractors had thought.
Although Lichtenstein had been using comic book imagery in his paintings since 1957, he did not do large canvases reproducing single comic strip panels featuring speech balloons until he painted Look Mickey in the summer of 1961 4 months after he had, by his own admission, seen Warhol's canvases. Warhol had been painting single comic strip panels featuring speech balloons since 1960 - a year earlier than Lichtenstein. It is possible that Lichtenstein, as Warhol suspected, had seen Warhol's paintings at Bonwit Teller, although Lichtenstein never mentioned it in interviews. In any case, Lichtenstein admitted having seen Warhol's cartoon paintings prior to doing his own single panel comic strip paintings featuring speech balloons (Look Mickey) and it is possible he was influenced by Warhol's work.
www.flickr.com/photos/deconstructing-roy-lichtenstein/395...
www.warholstars.org/warhol1/11roylichtenstein.html
ROY LICHTENSTEIN
The first time that Warhol's large canvases of comic strip characters were exhibited publicly was in April 1961 as part of a window display at the Bonwit Teller department store. Ted Carey discovered afterwards that Roy Lichtenstein was doing similar work.
Ted Carey:
"... I can remember one Saturday afternoon going into Castelli [Gallery], and I was in looking at a show, and Ivan said, 'Oh, I've got something to show you...' so, we went into the closet and he pulled out this big Pop Art painting, and I can't remember what it was, but it was a cartoon-type painting. And I said, 'It looks like Andy Warhol.' and he said, 'No, it's Roy Lichtenstein.' And I said, 'Well it looks very much like some paintings that Andy is doing.' 'Yes, we've heard that Andy is doing some paintings like this,' he said, 'Leo would like to see them. So, tell Andy to give us a call.'"1
When Carey told Warhol of Lichtenstein's paintings, Warhol thought Lichtenstein was copying his ideas.
Ted Carey:
"... So, I went home and called Andy - no, I think, I went right over to Andy's house... and so, I said, 'Prepare yourself for a shock.' And he said, 'What?' I said, 'Castelli has a closet full of comic paintings.' And he said, 'You're kidding?!' And he said, 'Who did them?' And I said, 'Somebody by the name of Lichtenstein.' Well, Andy turned white. He said, 'Roy Lichtenstein.' He said, 'Roy Lichtenstein used to... ' - as I remember, he used to be a sign painter for Bonwit Teller, and here's where I'm a little bit confused because Andy... couldn't get anybody to show his early cartoon paintings, so he went to Gene Moore and Gene Moore said, 'Well I can put the paintings in the windows...' He put them in the 57th Street window... As I remember, the implication was: Andy felt that Lichtenstein had seen the paintings in the window and gave him the idea to do his paintings. Now, whether this is true or not, I don't know, but at this time, this is what Andy had felt."2
Lichtenstein later denied that he had any knowledge of Warhol's comic strip paintings prior to doing his own:
Roy Lichtenstein:
"I saw Andy's work at Leo Castelli's about the same time I brought mine in, about the spring of 1961... Of course, I was amazed to see Andy's work because he was doing cartoons of Nancy and Dick Tracy and they were similar to mine."3
Although Lichtenstein maintains that he saw Warhol's paintings at Castelli's gallery in "about" the Spring of 1961, Castelli did not have any Warhol paintings at that time. The only place they had been exhibited was in April 1961 in the windows of Bonwit Teller. Lichtenstein implies that Castelli was stocking Warhol's work prior to his own, whereas Carey's comments indicate the opposite - and Carey's comments are supported by the recollections of both Leo Castelli and Ivan Karp. Although Lichtenstein had been using comic book imagery in his paintings since 1957, he did not do large canvases reproducing single comic strip panels featuring speech balloons until he painted Look Mickey in the summer of 1961 4 months after he had, by his own admission, seen Warhol's canvases. Warhol had been painting single comic strip panels featuring speech balloons since 1960 - a year earlier than Lichtenstein. It is possible that Lichtenstein, as Warhol suspected, had seen Warhol's paintings at Bonwit Teller, although Lichtenstein never mentioned it in interviews. In any case, Lichtenstein admitted having seen Warhol's cartoon paintings prior to doing his own single panel comic strip paintings featuring speech balloons (Look Mickey) and it is possible he was influenced by Warhol's work.
davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html
www.flickr.com/photos/deconstructing-roy-lichtenstein/
www.valleyadvocate.com/gbase/Arts/content?oid=oid:688