By Robert C. Harvey
This paintings examines the cartoon all through its historical past for the weather that make cartoons probably the most beautiful of the preferred arts. The cartoon was once created by means of rival newspapers as a tool of their stream battles. It speedy proven itself as not just an efficient equipment, but in addition as an establishment that quickly unfold to newspapers world-wide. This old research unfolds the historical past of the funnies and divulges the sophisticated paintings of ways the strips mix note and images to make their influence. The publication additionally finds new info and weighs the impact of syndication upon the medium. Milestones within the artwork of cartooning featured contain: Mutt and Jeff, Dick Tracy, Tarzan, Flash Gordon, Popeye, Krazy Kat, and others. more moderen classics also are integrated, similar 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))
He was also famous. And he quickly habituated himself to both wealth and renown. His celebrity made him welcome in circles that were normally closed to newspapermen and other lowlifes (such as actors and professional athletes, all of whom were social outcasts for at least the first twenty years of the century). The first truly famous cartoonist, Fisher relished his position in high society, and he worked hard on his public image (tainting the world's perception of cartoonists Page 39 in the process). Fisher bought a stable of race horses, drove about town in a Rolls Royce, and prowled nightclubs with a beautiful showgirl on each arm. The flood of publicity attending the production of Mutt and Jeff animated cartoons (beginning in 1916) claimed that Fisher did all the work himself; the Raoul Barre—Charles Bowers studio was never even mentioned. Fisher had divorced his first wife, Pauline, years before, and although he enjoyed the license of a bachelor life, in 1924 he married a titled European whom he met on a voyage home from France, the Countess Aedita de Beaumont, only to be legally separated four months later (with the countess inheriting 62 percent of his estate). 19 By the 1920s Fisher was enjoying his social life so much that he left most of the work on the strip to Ed Mack. In this respect, too, Fisher may have set the mold. For a long time, most average newspaper readers, who acquired their perception of the world from what they read in the paper, believed that the famous cartoonists whose escapades were so frequently related in the society columns spent most of their time lolling around in fancy nightclubs while their strips were being drawn by underpaid, starving teenagers, who slaved away in secrecy in some obscure garret. In Fisher's case, this perception was probably close to the truth (as it was with another Fisher, Ham, whose Joe Palooka was drawn by others even if it was written by its creator of record). Bud Fisher soon became a gambling, womanizing night owl, who seldom handled a pen anymore. And the more he moved in society's salons, the less use he had for his erstwhile brethren of the inkyfingered fraternity. He regularly snubbed his onetime friends. "He squandered his life and was a very unhappy man," Wheeler wrote. 20 Fisher died in 1954 at the age of seventy. He spent his last years desolate and alone in a huge museum of a Park Avenue apartment. He had purchased rooms from historic European houses and had them dismantled and installed in his New York residence. There was an English manor room of the Elizabethan period and a French Provincial room. Another room was Oriental, a trove of Chinese treasures. Sick and solitary, Fisher spent his final days amid this splendor but probably not enjoying it a lot. Toward the end, he seldom left his bedroom, where he slept on a bare mattress and pillows without cases, while the rest of his abode slipped into shabby decay, its hallways lined with stacks of unopened envelopes from his bank.