John Powers Severin - An Appreciaton

"I've always been interested in people's faces. I've tried to study the types you see in various occupations or in the differences that show up with racial groups. Yes, I reckon the face is the best way to show character, but there's plenty of other things that go along with it. The hands - for example -- the way a man uses his hands shows how his mind is really working.  You can control an expression on the face, but the hands give it away. Then there's the way a character is dressed or his way of posturing."    

John Severin interview with John Benson, Graphic Story Magazine # 13, spring 1971

Beginning in 1947, and only ending recently with his passing (February 12th, 2012), John Severin had been drawing comics - and drawing them with distinctive finesse - for over sixty years. Quite an accomplishment by any standard.

"Dien Bien Phu", Two Fisted Tales # 40, January 1955. 

Severin was an artist who didn't get a lot of attention, perhaps because he was never too involved or interested in super-heroes, preferring genres rooted in a realistic background: western, war and period pieces.  Severin also spent many years working on humor strips for Cracked, and was never associated with a single character for long.  Nevertheless, Severin was one of those artists, like Russ Heath and Joe Kubert, who turned out superior work year after year.

Kid Colt, Outlaw # 84, May 1959. Severin draws you  into the scene. Severin, along with Joe Maneely, Russ Heath and Bill Everett, drew some of the most exciting covers for Atlas.

Caught # 4, Feb 1957. Severin contributed a  number of spectacular covers for Atlas' crime titles, which deserve to be collected in a Masterworks edition (you listening, Cory??)


I probably first took notice of Severin's work when he took over the artistic chores from Dick Ayers on Sgt. Fury for three issues (#'s 44-46).   

Sgt. Fury # 45, August, 1967. The expressions and body language on the characters speak volumes.

Severin continued on Sgt. Fury for a long run, inking Dick Ayers pencils, adding authenticity and detail. Severin's inks were exquisite on everyone, from Herb Trimpe to Ross Andru. Of special note is his collaboration with sister Marie on Kull.



Two-Gun Kid # 103, March 1972; Gil Kane pencils. 



Captain Savage # 16, September, 1969. Don Heck pencils. The only time Severin inked Heck.


I began to fully appreciate Severin when I discovered his earlier work, in reprints of his EC war and humor stories for Mad. As I became interested in collecting pre-hero Marvel's in the 1980s I bought many westerns at conventions, attracted by Severin's exceptional covers. All the while Severin continued to work for companies such as Warren, the short-lived Atlas/Seaboard line (in the magazine Thrilling Adventure Stories), and DC, on "the Losers", "Unknown Soldier" and "Enemy Ace" to the recent Bat Lash series. It was always worth checking out anything Severin drew since the quality of his art continued to remain high.




Western Gunfighters # 9, May 1972. Severin produced many covers for Marvel's western reprints on the 1970s and they are well worth seeking out. Severin also drew the sidebar characters.


John Severin was a rare breed that turned in exceptional work day in and day out. Never flashy, his art had a quiet integrity which stands the test of time.