By Robert C. Harvey
This paintings examines the sketch all through its historical past for the weather that make cartoons some of the most beautiful of the preferred arts. The sketch was once created by way of rival newspapers as a tool of their circulate battles. It quick tested itself as not just a good machine, but additionally as an establishment that quickly unfold to newspapers world-wide. This historic research unfolds the historical past of the funnies and divulges the delicate paintings of the way the strips mixture be aware and images to make their impression. The ebook additionally finds new details and weighs the effect of syndication upon the medium. Milestones within the artwork of cartooning featured comprise: Mutt and Jeff, Dick Tracy, Tarzan, Flash Gordon, Popeye, Krazy Kat, and others. newer classics also are incorporated, comparable to Peanuts, Tumbleweeds, Doonesbury and Calvin and Hobbes.
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Extra info for The Art of the Funnies: An Aesthetic History (Studies in Popular Culture (Paperback))
They parted ways soon, though, when Crane dropped out of college and went to sea. But they kept in touch. Turner eventually made his way to New York and a career as an illustrator and was reasonably content. Then in 1937 he got that letter from his old railriding chum. Crane had been doing the strip for nearly fourteen years without a break. It was a grueling pace—albeit no different than that endured by every syndicated newspaper cartoonist. Until Garry Trudeau astounded the syndicate world in 1982 by taking an eighteenmonth sabbatical (during which his strip Doonesbury simply languished, undrawn, unwritten, uncirculated), the only way a syndicated cartoonist got a vacation was by working ahead: if a cartoonist drew two weeks' worth of strips in one week, he could take the next week as vacation. It might take a month or more of cranking out a few extra strips a week to create enough surplus to get that week off, but that was the only way it could be done. By 1937, Crane needed a rest. He wanted to escape the deadlinemeeting ordeal for an extended period—say, six weeks—without having to double his rate of production. He could do it if he had an assistant who could draw like him well enough to sustain the strip. His old friend Turner was his choice. Before leaving for his European vacation, Crane finished writing the story he was in the middle of. Then he left, and Turner drew the strip. Turner's work was published from October 17 through December 1, 1937. When Crane returned, Turner stayed on as his assistant, having decided he liked cartooning better than illustrating. In 1938 the two cartoonists broke an NEA tradition: they moved out of Cleveland, flouting the dictum that required them to work in the office. They moved their families and studio to Florida, where they worked together until 1943. In the summer of that year, Crane left NEA to create a new strip for Hearst's King Features. It was the old story: Hearst offered Crane a sweeter deal (including, I assume, ownership of his feature). Crane was only the second major cartoonist in the medium's history to leave a successful feature to create an entirely new one. (The other rebel had also been an NEA cartoonist—Gene Ahern, who had abandoned Major Hoople to create a similar character, Judge Puffle, for King in 1936. ) On November 1, 1943, Crane's Buz Sawyer debuted. Crane expected Turner to join him on the new strip, but NEA apparently made him a better offer to stay on and continue Wash Tubbs over his own signature. Turner is one of the few cartoonists to Page 90 Figure 51. As this miscellany of panels shows, Crane continued to display his mastery of Craftint doubletone in Buz Sawyer, which started November 1, 1943. The girl in the pond is Christy, a hometown girl whom Buz eventually married. With Buz in the third panel is his Navy sidekick, Roscoe Sweeny. Page 91 continue another's creation successfully—equaling and sometimes, as Ron Goulart says, surpassing his mentor's achievements. His Wash Tubbs (which became Captain Easy, finally, in 1949) was every bit as lively and exciting as Crane's Wash Tubbs had been.