Oh, I love the comics from the old days. This beautiful splash page by Gene Fawcette has it all: strange adventure, murky monster, dashing hero, b-b-beautiful heroine (with pirate boots!), sizzling spaceship, great lettering, bold and colorful.
In moving our home, I've been going through more boxes of my mom's and dad's. It's a perilous journey, finding a path through the past, with sadness, anger, bewilderment . . . boredom. But once in a while something bright and cheerful pops up. Such as it is with this artifact from my past—a landscape on a masonite board with a thick cut-out (with applied felt) of ol' Pinocchio struttin' down the road, finding his own path.
The very earliest memories of my life include seeing this panel, framed on the wall above my bed (crib?). And here it is, just a little worse for wear.
And here I am, around the age that I first laid eyes on that cheerful Disney icon — me, these days, just a little worse for wear.
As a species of animal, the human race is born of, and rooted to, the earth—yet with our eyes fixed upon the stars.
Still, many of us are limited in what we see and understand, still clouded by a shell of superstition and ignorance. The sciences should not stay elevated to the elite priests and shamans of technology, with jargon and techniques that leave the masses bewildered, or complacent in their short-sighted ignorance. Rather, we should promote the long count of knowledge with an eye to countering religious superstition and focus our energies to the benefit of our planet and its future.
The Mayan long count calendar has restarted. So should the calendar of humankind, starting a true age of enlightenment.
Pictorial photographer Victor Keppler worked for all the slick magazines and ad agencies in the '30s, '40s and '50s.
His illustrative photograph of Queen Nefertari was for a slick magazine in the '30s, and great care was taken to be as accurate as possible in historical detail — with one minor exception, according to Keppler. Her left breast should have been exposed, but it was felt that was a bit too daring for mainstream America in 1936.
I made a quick pictorial search to see if that was indeed the case, but have not yet found reference that indicates that was so for Nefertari.
Victor Keppler — Nefertari — 1936
Thomas Haller Buchanan — Nefertari — 1987
My connection with Queen Nefertari, for what it's worth, is that I created a facsimile of a famous bas relief of her for a 1987 museum exhibit of Ramesses the Great, sitting side by side with authentic ancient Egyptian artifacts (mine was labeled as a facsimile). It was full size to the original, which was not available, and I created it by making a thick slab of plaster of paris and then chiseling out the negative space, just as the original was made (from stone), and I then distressed and painted it. My fingers were so numb from chiseling that my hands were useless for weeks. One has to wonder how the artisans of ancient Egypt filed for workman's comp. "Nefertari, also known as Nefertari Merymut, was one of the Great Royal Wives (or principal wives) of Ramesses the Great. Nefertari means 'Beautiful Companion' and Meritmut mean 'Beloved of [the Goddess] Mut'. She is one of the best known Egyptian queens, next to Cleopatra, Nefertiti and Hatshepsut. Her lavishly decorated tomb, QV66, is the larges and most spectacular in the Valley of the Queens. Ramesses also constructed a temple for her at Abu Simbel next to his colossal monument. Nefertari held many different titles, including: Great of Praises, Sweet of Love, Lady of Grace, Great King's Wife, Lady of The Two Lands, Lady of All Lands, Wife of the Strong Bull, God's Wife, Mistress of Upper and Lower Egypt. Ramesses II also named her 'The One for Whom the Sun Shines'."
This is one of the drawings that I bought from Gil Kane himself, at the time he was creating a lot of Superman material for DC. It's an iconic pose, with iconic power auras like Kane was prone to draw at the time. This and some other stuff I've been hoarding for years is coming up for auction at Heritage Auctions. I'm loathe to let them go, but I have no better cause than to help our daughter to continue her college education.
This is a beautiful rendition of a ghostly host on the march. See, the idea here is that the lady in white can see the apparitions and they are in obeisance to her, while the warrior guy can't see any of the spooky stuff and — and — and there's a whole story here that you just need to go find. I'm not involved with this stuff, somebody out there is and can tell you about it (is this a book and a role playing game?)—I just really like the art, so it ended up in my image morgue.
Matt Stawicki — Dragons of a Lost Star — Dragon Lance
Last post, there was a comment from ToB that reminded me of one of my favorite character renderings by Nick Cardy, back at the tail end of the Silver Age of Comics. Lilith, an empathic clairvoyant who joined up with the original Teen Titans was drawn and written as a mysterious and caring teen wonder, and I, well, I sorta had a mid-teen crush on this paper doll, thanks to Cardy's drawing style.
Kid Robson wrote a post of this schoolboy phenomenon,here.
I wonder, did girls have crushes for Superboy, or Brainiac 5, or Robin the Teen Wonder? Wally West? Hawk and Dove? AquaLad?
Above and below, Nick Cardy — Lilith — The Teen Titans
I have a genuine fondness for the DC comics of the 1967-74 years, a transition period of sorts between the Silver and Bronze Ages. The art and the stories were actually better in many ways than the Golden and Silver Ages, as the comics industry was starting into its 3rd generation of talent. Don't get me wrong though, the Golden and Silver years were raw, bold, colorful, and wonderful — with a huge nostalgic factor.
Below is a tribute by Nick Cardy, one of the 2nd generation artists that was at the top of his game during this period. I have bittersweet memories of this time, as it bookended my high school years into my army years, when I was still collecting as I could, attending early comicons and such, and seeking out my favorite creators to shake their hands.
Matt Groening is one of the wisest billionaire cartoonists in the business, even though his business these days probably precludes any cartooning time (sadly, he did retire recently from Life in Hell).
His wisdom and humanity shines through every Life in Hell page, bless his heart, and he still hasn't invited my little family over for dinner. But, Matt, I'm inviting you to either brunch, lunch or tea, my treat. I'd love to render a portrait of you and talk about life in hell.
When this ad came out in 1943, it was still a hard fight to the end of the war, but grim determination won out. The same sentiment could be used now for the service men and women still in harm's way — "Let's Get It Over With Quick!"
At this here blog thingie we don't discriminate between "fine art" and "popular art", between "good taste" and "tasting good". All images are fair game, some more than others.
Al Feldstein, venerable artist/editor at the old EC madhouse, recreated, as an oil, his cover from Weird Fantasy #15, as many graphic artists have done to make a buck in the collector's market, and why not?
Over 30 years ago, Joost Swarte had the courage to expose the TRUE behind-the-scenes business of how comix are produced, not unlike the movie industry, with the studio teamwork of many specialized technicians. Even some of the same Hollywoodish hanky-panky, as we spy going on in the water closet.
This image is from one of those long ago volumes that a Victorian gentleman would keep on the highest shelf in his library, or perhaps in a cabinet under lock and key. This volume was a survey of sexual customs from around the world. Now that I've posted this I will replace the volume back to its high shelf.
'On Christmas Eve, 1872, a dreadful derailment took place at Prospect Station, Pennsylvania. Twenty-five passengers were killed when coaches fell from the bridge into a frozen creek bed, where they were set afire from overturned stoves. The derailment was caused by a broken wheel.'
Now and then I receive email enquiries regarding background information on this image or that.
This image is one that particularly caught my attention because I greatly admire the artwork of WT Benda. Peter was wondering if I knew the date or where this work might be. I do not. This reproduction is from an old Architectural Digest magazine with only the caption: A Mural Decoration by W.T. Benda.
Knowing Benda's fascination with masks, collecting and creating them, this retinue of beasts and demons makes a bit of sense, but still is a mysterious crowd. Some of you out there are fans of Benda, and knowledgeable besides. Do you know the date or whereabouts of this mural? Is this a reproduction of a study or of the actual mural? Are these dimensional masks placed on a painting, or is this a conceptual preliminary meant to drive the execution of full-sized masks? Enquiring minds want to know.
There's a post over on the cool Enoch Bolles site that brings up the topic of early 20th century images portraying women smoking cigarettes, a rare and shocking event at that time. Enoch Bolles used smoking as a prop for a magazine cover of 1914. But Raphael Kirchner, in the same year, showed a young Ziegfeld beauty actually savoring her nicotine. The shocking thing these days is that ANYone is smoking, knowing the damage that it inflicts.
Our lives are constant blends of old with new. That's almost one definition of 'time' — old days / new days. We all own some old things and some new things. New things become old things. We can acquire some old things and thereby make them new things, for us. We moved from our old house to our new house, bringing some old things and buying some new things. The old year became the new year, looking quite the same, except our old view is now a new view. The old computer became a new computer, looking much like the old one, but behaving in a new way. I've finished some old projects and begun some new.
Thank you to everyone who sent over their good wishes for a smooth move for the home, studio and new computer. Everything DID go smoothly, exCEPT for when I went to the new basement to put some things away, hordes from Hades came pouring out from the unfinished section—which really shook me up until they explained that they were from the Neighborhood Welcoming Committee, inviting us to worship with them (and you should see the basket of goodies they left!).
This image is totally out of season, totally unrelated to anything—who cares? Right? Bloggy blog blog. Images, images, we're all hungry for images.
Sorry, I'm a little hyper. We're moving home and studio over the next couple of days, and then I pick up my new super-duper, top of the line, dee-luxe, 800 hundred horsepower, slick-trick magic machine. Yes, it's a Mac and I'm proud to say it.
Good golly, why am I so hyper. I moved a truck-load of furniture today and I'm dead tired. But change is exciting and I'm almost done with my 3 years in the making deadlines for 3 separate clients! And then what . . . I dunno.
Okay, this image is slightly related to something relevant. This is, of course, from a Mid-Summer Night's Dream, and we saw a terrific performance of same while we were in London! You just can't go to London and not do something Shakespeare related.
From an old print, don't know the artist, date or anything else. But look close at the elegant engraving lines— somewhat like paper currency.
I am posting these images with a non-profit and educational 'fair use' motive, regarding respective copyrights. Anyone downloading and using these images for any commercial use would be in violation of respective copyrights, and does not have my approval for such use.
My name is Thom Buchanan.
I'm an artist and photographer.
People are my favorite subjects to portray in art and photos. My wife (and studio partner) has called that my 'people skills', as I've been passionately creating portrait studies for many years.
I refer to myself as a pictorialist, a combination of image-making and journalist. Images are my life.