Silver Age of Comic Books - Artists

Artists

Further information: List of Silver Age comics creators

Arlen Schumer, author of The Silver Age of Comic Book Art, singles out Carmine Infantino's Flash as the embodiment of the design of the era: "as sleek and streamlined as the fins Detroit was sporting on all its models." Other notable artists of the era include Curt Swan, Gene Colan, Steve Ditko, Gil Kane, Jack Kirby and Joe Kubert.

Two artists that changed the comics industry dramatically in the late 1960s were Neal Adams, considered one of his country's greatest draftsmen, and Jim Steranko. Both artists expressed a cinematic approach at times that occasionally altered the more conventional panel-based format that has been commonplace for decades. Adams' breakthrough was based on layout and rendering. Best known for returning Batman to his somber roots after the campy success of the Batman television show, his naturalistic depictions of anatomy, faces, and gestures changed comics' style in a way that Strausbaugh sees reflected in modern graphic novels.

One of the few writer-artists at the time, Steranko made use of a cinematic style of storytelling. Strausbaugh credits him as one of Marvel's strongest creative forces during the late 1960s, his art owing a large debt to Salvador Dalí. Steranko started by inking and penciling the details of Kirby's artwork on Nick Fury, Agent of S.H.I.E.L.D. beginning in Strange Tales #151, but by Strange Tales #155 Stan Lee had put him in charge of both writing and drawing Fury's adventures. He exaggerated the James Bond-style spy stories, introducing the vortex beam (which lifts objects), the aphonic bomb (which explodes silently), a miniature electronic absorber (which protected Fury from electricity), and the Q-ray machine (a molecular disintegrator)—all in his first 11-page story.

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Famous quotes containing the word artists:

    “In dealings with scholars and artists we are apt to miscalculate in opposite directions: behind a remarkable scholar we sometimes, and not infrequently, find a mediocre man, and behind a mediocre artist, fairly often—a very remarkable man.”
    —Friedrich Nietzsche (1844–1900)

    “Good artists exist simply in what they make, and consequently are perfectly uninteresting in what they are. A really great poet is the most unpoetical of all creatures. But inferior poets are absolutely fascinating. The worse their rhymes are, the more picturesque they look. The mere fact of having published a book of second-rate sonnets makes a man quite irresistible. He lives the poetry that he cannot write. The others write the poetry that they dare not realise.”
    —Oscar Wilde (1854–1900)

    “The reward of art is not fame or success but intoxication: that is why so many bad artists are unable to give it up.”
    —Cyril Connolly (1903–1974)