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Krigstein's 8-page "Master Race" OA at Heritage. How Much?
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Started by NoMan,

123 posts in this topic

cstojano

cstojano

Posted
Posted
52 minutes ago, aokartman said:

This...from Vulture.com...

It wasn’t the bold story that made “Master Race” so revolutionary — although the Holocaust was only ten years in the past and rarely spoken of. It was how Krigstein told the tale, using repeated panels, fractured images and expressionist anatomy to capture Reissman’s panic and dark deeds, and to break down time into fragmented, strobe-light-esque instants. Although today these devices are established comics vocabulary, they were utterly revolutionary in their time and inspired countless artists who came after to experiment with their own storytelling. Or as Spiegelman put it in the New Yorker, “Krigstein began to vibrate with the inner language of comics, to understand that its essence lay in the ‘breakdowns,’ the box-to-box exposition that breaks moments of time down into spatial units.” Krigstein never drew another story with the impact of this one, but he didn’t need to.

Thanks, so it is Citizen Kane, basically. 

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Panelfan1

Panelfan1

Posted
Posted (edited)
56 minutes ago, aokartman said:

This...from Vulture.com...

It wasn’t the bold story that made “Master Race” so revolutionary — although the Holocaust was only ten years in the past and rarely spoken of. It was how Krigstein told the tale, using repeated panels, fractured images and expressionist anatomy to capture Reissman’s panic and dark deeds, and to break down time into fragmented, strobe-light-esque instants. Although today these devices are established comics vocabulary, they were utterly revolutionary in their time and inspired countless artists who came after to experiment with their own storytelling. Or as Spiegelman put it in the New Yorker, “Krigstein began to vibrate with the inner language of comics, to understand that its essence lay in the ‘breakdowns,’ the box-to-box exposition that breaks moments of time down into spatial units.” Krigstein never drew another story with the impact of this one, but he didn’t need to.

Thanks for that.  Basically I didn't appreciate it as special because everything it did has been done thousands of times over since then. Context is appreciated and I can see why others care.

Now as a comic art  collector - I would like to say that buying art for context (which is normal in fine art) is not for me.  I buy art that I love - not because others think it's important.  I buy with my heart, not with my brain (read into that what you will.) My love of art is based both on technique and nostalgia.  As a more modern collector I neither have nostalgia for this art - nor do I love the style.  My primary focus in comic art is superheroes - but I also enjoy 30s to 60s illustration art. In all cases I don't collect 'serious' subject matter - preferring action or whimsy to 'deep' stories.  

Having said all that - I think work like this should have a long life - with fans of indy or serious works (vertigo readers and such..) who may buy this because they love it and not - because someone tells them they should love it.

Edited by Panelfan1
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drdroom

drdroom

Posted
Posted
15 minutes ago, drdroom said:

I think Citizen Kane is correct actually. The "Stagecoach" of comic book stories would be Toth's "Battle Flag of the Foreign Legion" in Danger Trail 3. 

A page from which sold quite cheaply (IMHO) last year: https://comics.ha.com/itm/original-comic-art/alex-toth-danger-trail-3-story-page-2-original-art-dc-comics-1950-/a/7158-93241.s?ic4=ListView-ShortDescription-071515

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The Voord

The Voord

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  • Popular Post
Posted
9 hours ago, aokartman said:

This...from Vulture.com...

It wasn’t the bold story that made “Master Race” so revolutionary — although the Holocaust was only ten years in the past and rarely spoken of. It was how Krigstein told the tale, using repeated panels, fractured images and expressionist anatomy to capture Reissman’s panic and dark deeds, and to break down time into fragmented, strobe-light-esque instants. Although today these devices are established comics vocabulary, they were utterly revolutionary in their time and inspired countless artists who came after to experiment with their own storytelling. Or as Spiegelman put it in the New Yorker, “Krigstein began to vibrate with the inner language of comics, to understand that its essence lay in the ‘breakdowns,’ the box-to-box exposition that breaks moments of time down into spatial units.” Krigstein never drew another story with the impact of this one, but he didn’t need to.

Krigstein illustrated some other EC stories with the same technique as 'Master race' (maybe not with the same impact, but 'Master Race' certainly wasn't a one-off in terms of the artist's approach to storytelling).  'In the Bag' and 'The Catacombs' spring immediately to mind . . .

InTheBag5.jpg

KrigsteinCatacombs.jpg

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delekkerste

delekkerste

Posted
Posted
On 9/28/2018 at 9:18 AM, delekkerste said:

Heck, I'll throw in a $100K hammer bid as soon as bidding opens, that's how confident I am that it's not going to end anywhere near that price (and I would very gladly pay that much for it). 2c 

My $100K hammer bid that I placed, as soon as I heard about bidding being open, has been exceeded.  

I always do what I say I am going to do. :sumo: 

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delekkerste

delekkerste

Posted
Posted (edited)
7 hours ago, tth2 said:

So which piece of OA is "Porky's"?

This piece, maybe?

Isn't this the page where, in the --script (it was published somewhere and I read it), Frank Miller gives graphic instruction to Jim Lee about how to draw her panties to drive the fanboys wild? It was definitely from this sequence, I remember. 

EDIT:  Found it:

-script: (sleazy voice) "...bra and panties and not one inch of clothing more, walks - no, hell, she struts -..." "Detail her BRA. It'll drive them crazy, Jim." "...give us an even better angle on the babe. [...] She knows what she's got. Make them drool." "OK, Jim, I'm shameless. Let's go with an A** SHOT. Panties detailed. Balloons from above. [This is not a joke. This is the actual -script.] We can't take her eyes off her. Especially since she's got one fine a**."

Edited by delekkerste
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BCarter27

BCarter27

Posted
Posted
40 minutes ago, delekkerste said:

My $100K hammer bid that I placed, as soon as I heard about bidding being open, has been exceeded.  

I always do what I say I am going to do. :sumo: 

And there goes the first floor bathroom at the Lucas Museum. Keep it up and we'll all be peeing in Port-o-potties in the parking lot.

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glendgold

glendgold

Posted
Posted (edited)
54 minutes ago, delekkerste said:

This piece, maybe?

Isn't this the page where, in the ----script (it was published somewhere and I read it), Frank Miller gives graphic instruction to Jim Lee about how to draw her panties to drive the fanboys wild? It was definitely from this sequence, I remember. 

EDIT:  Found it:

---script: (sleazy voice) "...bra and panties and not one inch of clothing more, walks - no, hell, she struts -..." "Detail her BRA. It'll drive them crazy, Jim." "...give us an even better angle on the babe. [...] She knows what she's got. Make them drool." "OK, Jim, I'm shameless. Let's go with an A** SHOT. Panties detailed. Balloons from above. [This is not a joke. This is the actual ---script.] We can't take her eyes off her. Especially since she's got one fine a**."

Extra points for repetition of the word "panties." 

 

 

Edited by glendgold
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NicoV

NicoV

Posted
Posted
1 hour ago, Bronty said:

well that was unexpected.    I'm not familiar with Boon.   Anyone have any background?   Is he the reason for the big prices on TinTin?

Philippe has a great collection, built in a few years only, but is not focused on Tintin. He's working on this project of a museum in Brussels for a few years, I can't wait to see it. If you want to have a peek to his collection: https://www.2dgalleries.com/browse/user-artworks?timespan=4&order=10&catid=2&uid=583

 

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vodou

vodou

Posted
Posted

I don't read those other languages any better than the rest of my US friends ;) but I continue to look at what our European friends collect to discover things like this:

cromwell-le-dernier-des-mohicans-2esf.jp

Stunning. And somebody (Cromwell) I'd probably never have run into otherwise. Thanks NicoV for leading me to that collection which references this artist and project!

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