By Eric Nolen-Weathington
This 3rd quantity within the new sleek Masters sequence spotlights the artist Bruce Timms occupation, along with his such a lot finished interview up to now, discussing his affects, how his kind developed, and what it takes to achieve either comics and animation. It additionally showcases web page after web page of infrequent and unseen paintings, together with a gallery of his top commissioned paintings, in addition to behind the curtain animation strategies! usually imitated yet by no means equaled, he blends the cartoony and the lifelike in this sort of approach that's undeniably beautiful, and this publication is the final word examine the paintings of a real smooth grasp: Bruce Timm!
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Extra resources for Modern Masters Volume: Bruce Timm
Sample text
Nonetheless, from more generous perspectives the seventy-metre-long embroidery, which tells the tale of the Norman Conquest of England of 1066 through a combination of words and sequential images, could indeed be meaningfully regarded as a comic. One result of such a leap would be to negate the equation of comics with American mass culture, undermining the nationalist argument and opening up the possibility that comics transcend any single culture, as do the other arts. 32 Comics versus Art Although he rejects the suggestion that the Bayeux Tapestry is a comic on the grounds that it was not mass-produced, art historian David Kunzle was the first to offer a sustained critical analysis of the origins of the comics form.
5 While their concerns are different – one formal, one social – their conclusions are analogous. 6 Largely ignored by critics and art historians, and consequently disdainful of the interests of those groups, comics have long revelled in their lowbrow, bad boy image. Nonetheless, in keeping with Lee’s observation, it is clear that, in recent years, comics have become increasingly an interest of intellectuals, of both the ivory tower and pointy-headed varieties. These critics, curators, and art historians are increasingly coming to stress, contra Fortress and Crumb, that comics are indeed an important visual art.
While monumentality has been an important aspect of the visual arts for centuries, it does not seem to follow that small-formatted works have been particularly disparaged specifically for their size. The last of Groensteen’s symbolic handicaps, however, does strike me as particularly worth considering. He remarks that the development of comics throughout the twentieth century was largely divorced from the development of the visual arts. In Comics as Culture, M. ’17 This seems to be a difficult assertion to credit given the vast differences that existed between comics and high modernism in the first half of the twentieth century, differences that were seemingly exacerbated by the rise of minimalism and conceptualism in the visual arts, movements for which there are very few comics equivalents.
