- Tapa dura: 164 páginas
- Editor: Taschen; Edición: 01 (1 de enero de 1999)
- Colección: Evergreen
- Idioma: Inglés
- ISBN-10: 3822870749
- ISBN-13: 978-3822870747
- Clasificación en los más vendidos de Amazon: nº615.822 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
Frank Frazetta. Ediz. inglese: The Master of Fantasy Art (Evergreen) (Inglés) Tapa dura – 1 ene 1999
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Frazetta is without question the master of Fantasy Art. He exploded all the old preconceptions of Fantasy as a pastoral realm of cute elves, sprites and wise wizards, and re-envisioned it as a brutal wilderness inhabited by virile, ruthless warriors hewn from pure muscle, and armour-clad amazons with astonishingly voluptuous bodies, locked in perpetual combat with horrific primeval monsters and demons. Once Frazetta had wielded his paints Fantasy could never be the same again.
Born in Brooklyn in 1928, he absorbed the colourful pulp adventures of Tarzan and Flash Gordon, and in the fifties he excited the next generation of Fantasy-lovers with his comics and illustrations for the seductive lady blood-sucker, Vampirella, and most fatuously Robert E. Howard's hero, Conan The Barbarian.
His work, with its high levels of testosterone, wicked humour and compositional skill, has been a profound influence on film-makers such as John Milius, Clint Eastwood and George Lucas. In the sixties Frazetta's images became the poster art for psychedelic counterculture. Frazetta was no political radical, but his art ripped apart the clean, ordered world of suburban America and replaced it with a gorgeously rendered wasteland of violence and sensuality.
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This book is a biography of Frank Frazetta looking at the illustrations he created throughout his career. It is really humbling to read how he rose from a kid drawing strange title like "The Elephant who wouldn't help" to the famous series of Conan. There are lots of interesting things to read like his working relationships with editors, his choice of keeping all his prints or how he learned anatomy in a day.
The illustrations included are comics from his childhood, movie posters, book covers and paintings. Towards the end, the paintings are given larger print space each with the story behind the creation.
Fans of Frank Frazetta should probably save a space on your shelf for this book.
(More pictures are available on my blog. Just visit my Amazon profile for the link.)
This book has a bunch of the Edgar Rice Burroughs paperback cover paintings, (Tarzan, John Carter of Mars, etc.), and Conan the Barbarian covers, too. The text explains how the Frazetta paintings on the paperback book covers were responsible for outrageously high sales of these paperback books. This is probably what Frazetta is most famous for, these paperback covers that started a trend of sci-fi fantasy paintings that were as brutally dangerous as they are beautifully painted.
This book discusses Frank Frazetta's early childhood art, how he got into illustrating and comic books, comic strip work ghosting Lil' Abner for Al Capp, being wooed by Hollywood stars, doing movie posters during different decades, etc.
All three books discuss the same eras, but with different details and commentary from different friends and associates. There are also plenty of insightful quotes from Frank in all three books, which explain his outlook concerning his artwork and doing business with his artwork over 5 decades.
I remember Frazetta best for his Molly Hatchet album covers, which are both in this "Icon" book, but they are credited to the original paperback covers that they were first commisioned for, so Molly Hatchet is not mentioned.
To me, a kid in the 1970's, Frazetta was recognized as an expert in his own category, but his work was not common to come across. So I am very pleased with all three books in this trilogy, that finally brings most of his career together in three nicely made art books.
All three of these books are very informative and nice additions to any fans personal library. If you like Frazetta at all, then you should be quite pleased with "Icon," "Legacy," and "Testament."
Frazetta can lead your eye and cause you to see what he wants you to see. His structure and framing are flawless. Frazetta does not paint posed characters in heroic staged scenes. Frazetta takes a snap shot of life in its most vivid and lush moving existence, or in its near death harshness and puts it on canvas. Even his non-moving figures fairly ripple with life and energy. And you can see examples of it all in "Icon".
Their are only two perfect matches in the art world and they both have the master Frank Frazetta as the second component. The first is author Edgar Rice Burroughs and the second is Robert E. Howard's Conan. Frazetta made Burroughs' work come to life in beautiful, brutish livid reality. Frazetta made Conan the beleivable, powerful, war-torn thug he was. Almost all of these pieces are contained in "Icon".
I wish I were a Frazetta hero and could rescue and succor a Frazetta female. But, since I can't I'll just have to settle down in my easy chair and browse through "Icon" again.