Chuyển đến nội dung chính

Paul Reinman 1933 Drawing

Some time ago I was contacted by Gideon Remez asking for information about Paul Reinman's background. He discovered I had written an article on Reinman for Alter Ego some years ago and hoped I could assist him. I told him there were few Reinman interviews I was aware of, but Reinman wrote a brief memoir for Alter Ego in the early 1960s, which I passed onto him. In that same period I was over Timely-Atlas expert Michael Vassallo's house, and what does he have on his desk? A Paul Reinman interview that appeared in The Burroughs Bulletin # 13, 1962 (Reinman drew the Tarzan strip a number in 1949-1950). Serendipity! I asked Mike to pass on the info to Gideon, as well as information on Reinman's Atlas work, which he gladly did.

                           Reinman Tarzan strip, 1949. Image from Heritage Auctions.

Gideon is not a comics fan, but his interest in Reinman overlaps with my interest in the lives and history of creators, which extends to many areas, as the article will reveal.

      http://www.tabletmag.com/jewish-arts-and-culture/116021/a-find-unlocks-comic-mystery

I've always found Reinman's work intriguing. I enjoyed his quirky qualities, his sometimes crude, imperfect figures figures and  that spoke of. Crude, perhaps, but with an underlying mood. His background work often overshadowed his figures, and this likely speaks to his primary interests. In the few paintings I've seen his backgrounds and scenery showcased strengths that were only touched upon in his comics work.


An attractive Reinman page that includes impressive rendering of buildings, trees, animals and figures. "The Temptation of Jesus", Bible Tales for Young Folk # 3,  December 1953 



Original artwork to Reinman's cover for The Shadow # 1, August 1964. His use of blacks and scratchy lines provides an atmospheric touch.

Much or Reinman's work outside of comics remains a mystery. It certainly includes undiscovered paintings and advertising art (a field he moved to after he left comics; he was also a courtroom artist), but could include book or record cover illustrations and movie posters, such as the one below. Further research into the work of Paul Reinman may open the door for a better assessment of him artistic talents.

                                

                     Reinman Bustin' Loose movie poster, circa 1981

Nhận xét

Bài đăng phổ biến từ blog này

More Kirby War: Battle

For my 50th post (I never thought I'd make it this far!) I will examine the 10 stories Jack Kirby produced for Battle , an Atlas comic that originated in 1951 and ceased publication in 1960.   In 1959, concurrent with his output on monster, western and romance stories, Kirby was assigned a number of compelling war stories. Based on a thorough reading it appears that Kirby scripted as well as drew many of the pre-1960 stories (an examination of possible scripts in other genre stories will appear at a later date). There are many similarities in style, tone, emphasis of words, phrases, use of quotation marks and sound effects that point to Kirby’s input. I will focus on these patterns as I go through each story.     "Action on Quemoy!" Battle # 64, June 1959, Jack Kirby story ? Kirby pencils; Christopher Rule inks, Job # T-266. The opening narration is similar to the style Kirby often employed; a long paragraph of exposition (which would be seen in many of his 1970s scripted

Etcetera, Etcetera

When Publisher Mark Hanerfeld found work at DC, The Comic Reader vanished for 22 months. Taking up the slack was another fanzine. Etcetera was published by Paul Levitz and Paul Kupperberg, and later solely by Levitz. Kupperberg would go on to write and edit for DC. You can read some great stories at his blog, including a few about his time working on Etc and meeting Carmine Infantino: http://kupps.malibulist.com/page/7/ Paul Levitz became a writer, editor and publisher at DC. Etcetera followed TCR by concentrating on news about DC and Marvel, listing coming comics and featuring reviews and columns. Etcetera # 3, May 1971 Along with Marvel and DC news, there was info on Skywald. Sol Brodsky (who left Marvel for a while to attempt this venture) and Israel Waldman teamed to produce horror mags such as Nightmare and Psycho , a few 25 cent color comics and Hell-Rider, which did not turn out to "shake up the industry as we know it" (it lasted two issues). Skywald employed many tal

Appreciating Don Heck

My introduction to Don Heck’s art began in the mid-1960s, when he was associated primarily with Marvel Comics' super-heroes, including  "Iron Man," "Ant-Man" and The Avengers . Reprints in Fantasy Masterpieces  educated me on Heck's stylish monster/science-fiction short stories, that while only six or seven years old, seemed like a discovery from an ancient age. As my collecting interests grew, I became aware of his facility in an array of genres, including romance, war and westerns. Through fanzines and interviews I learned of his beginnings, both the high-points and pitfalls of toiling in the comic book field.  Heck struggled at times to maintain his identity, and in later years didn't often get the choice assignments, passed over for younger, more popular artists, but his contributions to the field deserve recognition.          Don Heck’s earliest work appeared in 1952 at Comic Media. He contributed across the line in Weird Terror , War Fury,  Horrifi