Tag: Marvel Comics

Lichtenstein POP ART Productions

Whaam! Blam! Roy Lichtenstein and the Art of Appropriation is now available for online viewing. The documentary receives my highest recommendation, not only for setting the record straight, but for how it presents both sides of the case.

https://www.amazon.com/gp/product/B0BVJSVN18/

Much of Lichtenstein’s appeal depends on scale, so I recommend watching the documentary on the largest screen possible. Seeing the giant canvases displayed at auctions, in museums and galleries, only to be brought down to size both literally and figurately, makes the praise heaped on Lichtenstein by his apologists in the high art world seem laughable.

This documentary became not only necessary, but possible, by research that’s been done by fellow Westfield State alum David Barsalou. The reference David makes in this brief video clip is to an Art History course that was taught by Barbara Harris.

In this clip Russ Heath, one of the all-time great comic book illustrators, talks about Stan Lee giving him his start in comics.

Whether or not Stan realized that he had, in an indirect way, helped to make Lichtenstein’s fame possible, in 1965 he briefly embraced the Pop Art label, as seen in the corner box at the top of this post.

It’s disappointing that Bill Griffith, who I’m very much a fan of, doesn’t see a problem with Lichtenstein’s comic book appropriations. Griffith, who attended Pratt Institute during Lichtenstein’s initial burst of fame, seems to be expressing more of an art student’s view than one coming from a cartoonist. It was almost sad for me, seeing Griffith’s position undercut so deftly.

Voices Gone But Not Forgotten

The audio from my copy of THE VOICES OF MARVEL flexi-disc is being featured on Boing Boing. Sadly, everyone who is heard on the record is now gone.

https://boingboing.net/2022/07/12/listen-to-a-rare-flexi-disc-record-of-stan-lee-jack-kirby-and-the-voices-of-marvel-from-1964.html

The scripted and rehearsed recording was made in 1965, during Wally Wood’s brief stint working for Stan. Steve Ditko was still at Marvel, but he isn’t heard. Jack Kirby later regretted participating, despite his apparent enthusiasm at the time. Joe Sinnott didn’t return to the Bullpen until a few months later.

I know that one of my audio transfers was used for the video shared on Boing Boing, because of the “thump” heard while artist Don Heck is talking. The audio was captured lovingly and with careful attention to detail, using high-quality audio equipment, as I explained here fifteen years ago.

The MMMS Records Remastered

Alex “Thunderbolt” Ross

I’m looking forward to Alex Ross’ reimagining of the Fantastic Four in his photo-realistic style.

Like many artists did in the age of classic illustration, Ross uses reference photos. His original concept for Reed Richards for the Marvels limited series in 1994 was based upon Russell Johnson.

Joe and Stan Remembered

I took a break from blogging on October 15. The next day would have been Joe Sinnott’s 95th birthday. Having let the occasion get past me, I’ll make up for it now.

This photo was inscribed by Joe to Stan Lee in 2012. Stan kept it in his office until he passed away, three years ago yesterday. Joe first worked for Stan in 1951.

“Stan, you’ve been like a brother to me for 61 years — thanks, Joe Sinnott ’12”
Joe’s tools of his trade — A Winsor & Newton Series 7 #3 brush and a Hunt 102 pen nib. Acquired from the Joe Sinnott estate.

He’s Mighty Sore!

At the request of Mark Sinnott, I scanned a picture of the original, unedited cover to Journey Into Mystery #83 that his dad, Joltin’ Joe Sinnott, inked over Jack Kirby’s pencil art, for the first appearance of The Mighty Thor. Hover over the color picture to see how the illustration looked on Joe’s drawing table. Click here to see the scan I’m sending to Mark.

A point of particular interest to Silver Age comic book fans is the fact that the figures of the alien stone men were removed (undoubtedly at Stan Lee’s direction) during post-production, after Joe had inked them and turned in the finished job. Later, another comic book inker, who I shall not name, took it upon himself to sometimes erase background figures from Jack Kirby’s penciled pages, rather than ink them.