Hvert litografi mler 35 cm x 49 cm - og er trykt p meget smukt kvalitetspapir med struktur.Litografier af Crepax er ekstremt sjldne og efterspurgte blandt samlere af erotika.About henry Moore: Henry Spencer Moore (30 July 1898 31 August 1986) was an English artist and sculptor.He is best known for his abstract monumental bronze sculptures which are located around the world as public works of art.
His forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moores works are usually suggestive of the female body, apart from a phase in the 1950s when he sculpted family groups. Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his birthplace, Yorkshire. Valentina, Bianca, O are the victims of the most barbaric treatment always amidst splendid and baroque backgrounds. Would-be-Crepax fans can at last pore over the full-monty of this unique Raphael of Comics thanks to the Evergreen imprint of publishers Taschen who have delivered two deluxe hardback editions in English comprising Venus in Furs Bianca Emmanuelle, and JustineStory of O Will the waiting be found worthwhile For the Crepax fan yes, but for the general reader perhaps not. Valentina will be seen to have been Crepaxs greatest contribution to cartoon literature and though conspicuous by her absence Valentina casts a shadow over both Taschen volumes, for the trappings of bondage and pure fantasy, half oneiric and half hallucinatory to be found throughout these later graphic novels, were unmistakably there already in early Valentina. Crepax was thirty-two when he created Valentina, a late-comer perhaps, but certainly by then an experienced draughtsman. ![]() Publicity work followed for companies such as Shell, Dunlop, Terital, and Fujica, then for several years Crepax supported himself by illustrating book covers and record sleeves, particularly for jazz recordings, and by contributing illustrations to magazines such as the medical journal Tempo Medico. My first cartoon, he recalls, I did when I was twelve and it was called The Invisible Man, and it obviously followed very closely the film of the same name. I put everything together on my own, the screenplay as it were, the writing and the drawings Twenty years later Crepax set about creating his cartoon strip for Linus with the same attention to planning, storyline, lettering, and framing, inventing his own male superhero Neutron, with the magnetic eyes of Mandrake and the physical build of the traditional Man In the Mask. It was almost by chance and without premeditation that the true protagonist would prove to be Valentina, the incarnation of Louise Brooks, the masochistic dreamer, the all-powerful photographer, the most beautiful androgyne with the most beautiful backside in the world. Crepax Valentina Series Of SimilarHer body given up without inhibition, fragmented on the page and scrutinized in minute detail in a style of syncopated editing which reminded critics of the French films of the sixties, the nouvelle vague, Valentina would now scandalize many readers in Italy and abroad and be the inspiration for a series of similar sexy and captivating heroines who would keep Crepax busy at his drawing board for years to come. So if I have drawn whips, chains, bonds of every kind, he says, even if I have reproduced in my pictures the most audacious bold erotic perversions, I, in fact, hate violence and lack of respect towards oneself and to others, and all forms of excess. Have a look at them, the girls on display however they might be bound, frustrated, constrained, imprisoned, compressed or struck there is never one single drop of blood. The blow on their skins in the end never leaves more of a mark than a firm embrace. Sometimes her son Matias comic books are a starting point for a daydream adventure. In one tale Crepax pays homage to his mentors by portraying Valentina in the style of Hugo Pratt, Milton Caniff, Alex Raymond, Stan Lee, and even John Willie, and introduces the comic book heroes of his childhood, Dick Tracy, Tarzan, Prince Valiant and Mandrake, into the storyline. Time and again Crepax reinvents the layout of his page and in story-board fashion, the pictures tell the story almost to the exclusion of traditional balloon-enclosed dialogue. In the Valentina story, Magic Lantern dialogue is in fact dispensed with altogether. The story unfolds like an adult fairy tale, familiar territory for Crepax. With consummate skill, he takes every opportunity presented by this sadomasochistic literary classic to busy his pages with all manner of menace, stylized violence, eroticism, and sex. Whips, masks, erect penises, rounded breasts, and marked buttocks proliferate. Wilinsky, the French illustrator said Crepax drew the best ass of any comic strip artist and certainly that part of Os anatomy comes in for its full share of cruel treatment in Story of O. But here and there this rigid geometry is under threat of collapse, of being sucked into some threatening void which is about to open up in the background, amongst the clutter of opulent furnishings, drapes or architecture. This weaver of innocent plots is indeed, as Frediani describes Crepax, a hunter of butterflies. Crepax points out, From the point of view of eroticism its the atmosphere, the situation, which gives the scene its eroticism.
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