Vater und Sohn: 150 Bildgeschichten by E. O. Plauen

By E. O. Plauen

Das Gespann des gutmütigen, nur manchmal aufbrausenden Vaters und des verschmitzten, immer wieder einer unerwarteten Idee folgenden Sohns ist ein Klassiker: Generationen von Kindern wuchsen mit den hinreißenden Bildergeschichten auf. Ursprünglich erschienen sie 1934 bis 1937 in der Berliner Illustrierten Zeitung. Für den Nazi-Gegner Erich Ohser aus Plauen (= e. o. plauen) waren diese unpolitischen Zeichnungen die Grundlage seiner bürgerlichen Existenz. Gerettet haben sie ihn nicht: 1944 wurde er wegen »Wehrkraft-Zersetzung« verhaftet; in der Nacht vor Prozessbeginn erhängte er sich in seiner Zelle.

Die Ausgabe reproduziert alle drei Originalbände der »Vater und Sohn«-Geschichten aus den Jahren 1935, 1936 und 1937. Das Nachwort von Elke Schulze führt in sein Leben und sein Gesamtwerk ein, das mit Porträts, politischen Karikaturen und Landschaften deutlich umfangreicher ist, als guy gemeinhin erwartet. Auch von diesem Schaffen finden sich im Nachwort Beispiele.

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Because of this, the art from the Iger Studio has a distinct style and a certain feel to it. ” Clean, crisp lines, neat panels and concise storytelling are the earmarks of Iger Shop artwork. Robert Farrell, who wrote for the Studio in the late ’30s, was always keen to use Iger Shop stories in his comics. An associate at Fox, Superior, and the main man at Ajax, Farrell used the Iger Shop up until the very end, and even a bit beyond. honchos and was handed the keys to their new horror title Tales of Horror.

1959) art possibly by Bob Powell Carl Burgos was. 31 THE WEIRD WORLD OF EERIE PUBLICATIONS Secondly, there is evidence of hasty pasteups, and the scent of mucilage and X-acto knives hangs heavily over these comics. One story is stretched out from five pages to six and there are plenty of instances of bizarrely placed text and titles. Sketchy production values aside, these mags are packed to the gills with tremendous art. A bevy of pre-code artists turned up to fill these books with top-notch horror art.

This cover wouldn’t be In Beware #7 (Trojan, Jan. 1954), Fass’ only self-portrait to see print. Fass’ story “The Life of Riley” has more As 1954 was coming to an ugly close, Fass dismemberment but adds a helping of did some more covers and stories for Beware, cannibalism to the stew, making this one, curiously signed “Myron Fass… Good by” [sic], one of Fass’ more stomach-churning pre-code entries. More interesting still is Fass’ cover to Beware #11 (Sept. 1954), where he draws himself as a comic book artist tortured by his own creations.

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