Peanuts: The Art of Charles M. Schulz (Pantheon Graphic Library)

Peanuts: The Art of Charles M. Schulz (Pantheon Graphic Library)

Bücher Details

  • Titel:Peanuts: The Art of Charles M. Schulz (Pantheon Graphic Library)
  • Dateiname: peanuts-the-art-of-charles-m-schulz-pantheon-graphic-library.pdf
  • ISBN: 177836375714634
  • Datum des Hochladens: 2020-01-15
  • Anzahl der Seiten: 425 Seiten
  • Autor: Charles M. Schulz
  • Verlag: Charles M. Schulz


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Synopsis Offers reproductions of more than five hundred comic strips pieces from sketchbooks early prototype drawings for 'Peanuts' and selections from Schulz's first cartoon feature accompanied by commentary on the cartoonist's life and art. Klappentext This beautiful album will dazzle fans of Charles M. Schulz and his art providing an unprecedented look at the work of the most brilliant and beloved cartoonist of the twentieth century. Here is the whole gang-Charlie Brown Lucy Linus Snoopy Peppermint Patty Schroeder Pig-Pen and all the others from the original 'Peanuts strips. More than five hundred comic strips are reproduced as well as such rare or never-before-seen items as a sketchbook from Schulz's army days in the early 1940s; his very first printed strip' Just Keep Laughing; his private scrapbook of pre-'Peanuts Li'l Folks strips; developmental sketches for the first versions of Charlie Brown and the other Peanuts characters; a sketchbook from 1963; and many more materials gathered from the Schulz archives in Santa Rosa California. The art has been stunningly photographed by Geoff Spear in full color capturing the subtle textures of paper ink and line. The strips-which were shot only from the original art or vintage newsprint-reveal how from the 1950s through 2000 Schulz's style and the 'Peanuts world evolved. The book features an introduction by Jean Schulz and has been designed and edited by renowned graphic artist Chip Kidd who also provides an informed and appreciative commentary. This celebration of the genius of the most revered cartoonist of our time is a must for anyone who has ever come under the spell of 'Peanuts. 'From the Hardcover edition. Über den Autor und weitere Mitwirkende Charles M. Schulz was born in 1922 in Minneapolis the only child of a housewife and a barber. His interest in comics was encouraged by his father who loved the funny pages. After army duty Schulz lettered comic pages for Timeless Topix and sold seventeen cartoons to The Saturday Evening Post from 1948 to 1950 and a feature Li'l Folks to the St. Paul Pioneer Press. Peanuts debuted on October 2 1950 and ran without interruption for the next fifty years. Schulz died on February 12 2000 and his last strip ran the next day. Peanuts has appeared in 2600 newspapers in seventy-five countries. Leseprobe. Abdruck erfolgt mit freundlicher Genehmigung der Rechteinhaber. Alle Rechte vorbehalten. INTRODUCTION:Sparky was a genius.That is the answer to the unanswerable questions of 'why' and 'how.' I recognized it when I first knew him I spent the next 25 years asking the same things others ask and always came back to the same answer. The essence of his genius is: We can't know it quantify it explain it; we can simply enjoy it. If those of us who are part of his circle puzzle over the questions and struggle for answers no one struggled more than Sparky himself.He understood intuitively things he couldn't explain. Things he couldn't even put into words. He could go only so far as to answer the perennial question 'Where do your ideas come from?' The ideas Sparky used are out there in the world. We all know them and that is why we relate to them. It is the particular twist Sparky put to the ideas that described his genius and that draws us enchanted into his frame. I believe there are people of genius around us but few are fortunate enough to have their genius match the moment. A thousand years ago Sparky would have been a storyteller the person in the tribe or the clan who collected the tribal lore and repeated it for each generation. He understood instinctively the value of the story which illustrates a human truth and which allows his listeners to take from it what they need at the time. The best stories can be told over and over again--forever new--because the listener changes. Sparky loved his Big-Little Books when he was small when he was in high school he escaped into the world of Sherlock Holmes and always he loved adventure comics. He actually wanted to draw an adventure strip but it was the wistful innocent way he illustrated an emotion expressed through the eyes of a small person that caught the attention of the comics editors. And so it was children he drew on for his cartoons.Children he would have told you are simply adults 'with the lids still on.' He believed firmly that we are the product of our genes and that all of the characteristics are there within us as children simmering waiting to emerge. So the envy and anger expressed in 'Good Ol' Charlie Brown. How I hate him' in the first strip shocks us but Sparky knew whether or not we want to admit it children feel that emotion. When Sparky saw a child with a very strong personality he observed how difficult that person would be 'when the lid comes off.'Sparky loved to sit in his ice arena over lunch and have an interesting and varied group around and he was very good in front of an audience. He knew how to draw his story out to hold people's attention. His directness enlivened any conversation and he probed others with questions. In these situations he was like the storyteller of old--interacting with his audience in a very intimate way. But the comic strip is a long way from the storyteller of a thousand years ago. The cartoonist puts his drawings and words on paper and it is weeks before his audience sees them. Immediacy and personality must be elucidated in a different way. The comic strip storyteller of 20th century America has to tell a story that stretches across 3000 miles and draw scenes of snow pranks that make people laugh in Hawaii as well as in Vermont or Michigan.Like the novelist the cartoonist must go into himself or herself and draw upon what is there. It is a solitary craft.Sparky frequently wasn't sure if something he'd drawn was funny. Certainly he'd receive feedback but it would be months later. The spontaneity was missing. Often I'd stop at his studio and look over a stack of dailies on his desk. When I laughed out loud or told him how funny I thought they were he was truly grateful. 'Oh I'm so glad you think it's funny. I'm never sure' he'd say. He loved people's positive responses and at the same time he had to shut out the voices. He had to draw what he thought was funny and hope that his audience liked it too. He was always glad to know people liked his characters or a particular storyline but he knew he couldn't write to that audience; he always wrote for himself.He began quite early in his career to use biblical references. Occasionally someone would write to say 'How dare you use religious material in a comic strip?' His response was that as long as he had used the reference with integrity he was satisfied that he was on firm ground. On the other hand once in the 70s he used a take-off on the title I Heard the Owl Call My Name. He got a letter saying this was a sacred phrase in a Native American tribe. Sparky wrote an apology. He admitted he hadn't realized that he was overstepping propriety. Sparky sometimes tried out an idea on me or others. For example he'd say 'How would it be if Charlie Brown goes to camp and meets this other kid who won't say anything except 'Shut up and leave me alone.'?' Well it's difficult to imagine that as a funny storyline but I knew better than to say no and of course because of the funny drawing and the particular way he paced the strip and the story it became a funny sequence. If this or any new character made for a good storyline Sparky might go back and resurrect the character a year later for a second camp episode but more often than not that first appearance would be the last. He explained that the character was too one-dimensional to create opportunities for humor.In order to produce a strip every day he had to rely on characters whose personalities themselves engendered ideas. Sparky always had a pen handy to write down any notions that came to him or if we were in the car he'd ask me to write for him. Frequently at the symphony I'd see him reach into his pocket for his pad and pencil. On the way home he'd tell me the idea he had--but what he related to me at the time was only the germ of what would become a fully realized daily or Sunday page. He could come up with ideas from almost any situation because his characters had such distinct personalities and idiosyncrasies.As much as most of us are drawn to the personalities and the situations and the lines the characters deliver Sparky was always quick to point out that the appeal of Peanuts is still funny drawing. He would use a yellow lined pad to 'doodle' drawing the characters in antic poses rolling over flying upside down etc. These provided him with ideas.When the strip ended the response was overwhelming. Sparky touched people deeply and often changed their lives as the thousands of letters attested:'I remember [as a child] often being consumed by feelings of profound anxiety and unrest and yet as soon as I could come home to read my Peanuts books I was peaceful even happy.''When I was about 11 years old I had to go into the hospital and I was very scared. My mother had to leave me after visiting hours but my stuffed Snoopy didn't. I held it all night long.''I often identified with Charlie Brown's feelings of inadequacy of not fitting in anywhere. And my favorite character was always Linus who was sensible but had an almost magical sense of the power of his innocence and imagination.''Charlie Brown and the gang were a solace and a balm to my soul. I always wanted to tell this to Mr. Schulz. So now I tell you.'Sparky once said 'I would be satisfied if they wrote on my tombstone 'He made people happy.''He did that and so much more.-- Jean Schulz

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