On Mon, 11 Jun 2001, Henri Michaux wrote:
> John Garvin wrote:
>
> >2. John Garvin says that anyone who believes that 27
> >years of a great artist's work should be forgotten is
> >arrogant and ignorant.
>
> Why would that be arrogant? Just because it's Carl
> Barks, is it necessarily good?
> Don't misunderstand me. I know Barks comics by heart -
> and cannot say how much I like them. I have read all
> of them over and over again.
> I have seen his paintings at two exhibitions. I love
> Matisse, Derain, and many other painters. I like Pop
> artists as well. I love Marcel Duchamp. And I think
> that yes, Barks' paintings are very uninteresting.
<delurk>
Hello everyone... I just have to add my two cents here...
Henri: Why should the fact that you, and others with you, don't think
Barks paintings are any good be the deciding factor of wheter Carls
paintings would be remembered? It seem like you and Don Rosa are of the
opinion that as long as you don't like the paintings they can't be
remembered. If that's your opinion, then I feel John Garvin is perfectly
justified in calling it arrogant.
Don't get me wrong... you are entitled to your opinion, but you
shouldn't expect others to always agree with you. I think Barks
paintingts are very nice... a lot better than much of the art I have
seen in museums, and for some reason there are lots of people who would
remember the paintings of Munch, Van Ghogh (sp?), and countless others,
even though I think lots of those paintings are... well... not really
nice...
This applies to all fields of art. I can't wait to get my hands on every
new Don Rosa story, because I think he makes great stories. On the other
hand there are people who hate Dons stories, because they think he puts
too many details in them. I'm usually not looking forward to a Marco
Rota story, because I have a thing about his art... others love it...
and there are people out there who don't think Carl Barks should be
remembered for his comics, but rather for his paintings... and I'll be
perfectly happy to let them remember him for that, while I remember him
for his entire work, both comics and paintings...
</delurk>
--
Morten
If A Train Station Is Where The Train Stops, What Is A Work Station?
Author
Topic: 200106
(445 messages)
Morten Lied Johansen
No rant
Message 121 -
2001-06-12 at 04:01:04
Rodney W Bowcock Jr.
New Barks books
Message 122 -
2001-06-12 at 05:15:02
Mr. Ault,
I'm sure I won't be the only one to ask this, but when are your new books
due to be released?
Rodney Bowcock
________________________________________________________________
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I'm sure I won't be the only one to ask this, but when are your new books
due to be released?
Rodney Bowcock
________________________________________________________________
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Rodney W Bowcock Jr.
Arrogance
Message 123 -
2001-06-12 at 05:28:11
Am I the only one who found Mr. Garvin's remarks about Don Rosa to be
especially ironic considering how he calls Don arrogant, and then
proceeds to tell us how he suggested the idea of a Barks painting to him
on one of his "many visits" to his home.
Geez.........how much more arrogant can you get? Like Mr. Garvin's
opinions are more valid than the rest of ours because he met Carl Barks?
Your opinion is just that. Your opinion. So somebody doesn't like
Barks' paintings. Get over it.
And Daniel.........we all know very well how you don't like Don. Your
comment was really uncalled for.
I remember a time when we would talk about comic books on
here............for the past few months everyone just bickers between
themselves. How dull.
I just met former Disney Comics colorist Anthony Tollin on an Old-Time
Radio list and suggested he join this list. Now I think I may have made
a mistake.
Rodney Bowcock
________________________________________________________________
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especially ironic considering how he calls Don arrogant, and then
proceeds to tell us how he suggested the idea of a Barks painting to him
on one of his "many visits" to his home.
Geez.........how much more arrogant can you get? Like Mr. Garvin's
opinions are more valid than the rest of ours because he met Carl Barks?
Your opinion is just that. Your opinion. So somebody doesn't like
Barks' paintings. Get over it.
And Daniel.........we all know very well how you don't like Don. Your
comment was really uncalled for.
I remember a time when we would talk about comic books on
here............for the past few months everyone just bickers between
themselves. How dull.
I just met former Disney Comics colorist Anthony Tollin on an Old-Time
Radio list and suggested he join this list. Now I think I may have made
a mistake.
Rodney Bowcock
________________________________________________________________
GET INTERNET ACCESS FROM JUNO!
Juno offers FREE or PREMIUM Internet access for less!
Join Juno today! For your FREE software, visit:
http://dl.www.juno.com/get/tagj.
Rob Klein
Intini & Straying Off Model
Message 124 -
2001-06-12 at 05:54:46
Thanks Kriton for the scan of Intini's artwork. I must say it is
expressive. But I agree with you and Olivier, that it is much too drastic
over several panels on the same page (not to mention all panels in all
stories - if that is what he does). This type of overuse of drastic poses
made many stories by Daniel Branca much less enjoyable for me. His
acceleration of the percentage of drastic poses in his stories in the early
to mid 1990s dissappointed me, as he is one of my favourite artists.
The many varying styles of the Ducks drawn for Western Publishing (K.K. &
Whitman) show that much self expression and a reasonable degree of
variation from the character models was tolerated; as noted by the
difference in style from Barks to Hubbard to Murray to Lockman to McSavage
to Strobl to Moores to Buettner, etc. And, Taliaferro's style being
different from most of them brought even more variation.
The same was shown in the variation for Oberon in the 1970s - 80s from
Jippes (2 main styles), to Gulbransson to DeJonge to Verhagen to Reiche to
Heymans (early work) to Coenen to Milton to Nadorp,etc.
There is even some variation in the styles of the Egmont artists (not only
among Van Horn, Rosa and Rota - but also to a lesser degree, among the
others).
I believe that the Italians, as a group (on average), have strayed most
from the Disney Studios model. This is not to say that I believe they have
all gone too far for my taste. But, certainly Intini has (if the scanned
page is truly representative of his general current style). Even if I
would otherwise enjoy the story, it would be ruined for me because I could
not "get lost" or "live in" the story. That is what Barks' stories allow
me to do (as do well-made films and good books). As drastic poses ALL THE
TIME form an unnatural state, they then make it impossible for me to get
lost in the story. I focus on the artwork, instead of the blend of visual
and print storytelling.
My comment regarding "no one being forced to work for Disney" refers to an
implicit agreement made between the artist, through his contract studio or
independently, and the Disney Publications Office or franchisee. This
agreement, sometimes in writing, often vocal and de facto, states that the
artist must make his characters close enough to the studio's or
Franchisee's model sheets, or they will be rejected and done over until
acceptable. I don't know what model sheets the Italian's use. They have
developed their own style over the years which varies much from the
original US Studio models. Perhaps they now use an Italian model sheet
based on their first degree of variation. Given that all studios allow
some variation for artistic expression, inspiration and creativity, current
artists are allowed to vary a reasonable amount from their Italian model
(which already probably varies more from the other studios - or at least
the Old US version). This situation would result in a second degree of
variation; while their may be only one degree of variation in many of the
other franchisees. This is a theory based on no knowledge. Therefore, I
ask any of our Italian members who are knowledgeable on the subject of the
Disney Italia character models or related policies, to comment.
Rob Klein
expressive. But I agree with you and Olivier, that it is much too drastic
over several panels on the same page (not to mention all panels in all
stories - if that is what he does). This type of overuse of drastic poses
made many stories by Daniel Branca much less enjoyable for me. His
acceleration of the percentage of drastic poses in his stories in the early
to mid 1990s dissappointed me, as he is one of my favourite artists.
The many varying styles of the Ducks drawn for Western Publishing (K.K. &
Whitman) show that much self expression and a reasonable degree of
variation from the character models was tolerated; as noted by the
difference in style from Barks to Hubbard to Murray to Lockman to McSavage
to Strobl to Moores to Buettner, etc. And, Taliaferro's style being
different from most of them brought even more variation.
The same was shown in the variation for Oberon in the 1970s - 80s from
Jippes (2 main styles), to Gulbransson to DeJonge to Verhagen to Reiche to
Heymans (early work) to Coenen to Milton to Nadorp,etc.
There is even some variation in the styles of the Egmont artists (not only
among Van Horn, Rosa and Rota - but also to a lesser degree, among the
others).
I believe that the Italians, as a group (on average), have strayed most
from the Disney Studios model. This is not to say that I believe they have
all gone too far for my taste. But, certainly Intini has (if the scanned
page is truly representative of his general current style). Even if I
would otherwise enjoy the story, it would be ruined for me because I could
not "get lost" or "live in" the story. That is what Barks' stories allow
me to do (as do well-made films and good books). As drastic poses ALL THE
TIME form an unnatural state, they then make it impossible for me to get
lost in the story. I focus on the artwork, instead of the blend of visual
and print storytelling.
My comment regarding "no one being forced to work for Disney" refers to an
implicit agreement made between the artist, through his contract studio or
independently, and the Disney Publications Office or franchisee. This
agreement, sometimes in writing, often vocal and de facto, states that the
artist must make his characters close enough to the studio's or
Franchisee's model sheets, or they will be rejected and done over until
acceptable. I don't know what model sheets the Italian's use. They have
developed their own style over the years which varies much from the
original US Studio models. Perhaps they now use an Italian model sheet
based on their first degree of variation. Given that all studios allow
some variation for artistic expression, inspiration and creativity, current
artists are allowed to vary a reasonable amount from their Italian model
(which already probably varies more from the other studios - or at least
the Old US version). This situation would result in a second degree of
variation; while their may be only one degree of variation in many of the
other franchisees. This is a theory based on no knowledge. Therefore, I
ask any of our Italian members who are knowledgeable on the subject of the
Disney Italia character models or related policies, to comment.
Rob Klein
Mark Doukakis
OPINION OF ANOTHER
Message 125 -
2001-06-12 at 09:33:24
RODNEY said:
Am I the only one who found Mr. Garvin's remarks about Don Rosa to be
especially ironic considering how he calls Don arrogant, and then
proceeds to tell us how he suggested the idea of a Barks painting to him
on one of his "many visits" to his home.
......
No, you're not! I agree that Mr. Garvin is out of line here. Mr. Garvin
and Mr. Rosa are both too intelligent and too valuable contributors to
this list to fight over something that can't be won ? the opinion of
another. Mr. Garvin ought to let Mr. Rosa express himself without
attempting to drop-kick him through the (well earned) laurels of the
latter.
RODNEY said:
And Daniel.........we all know very well how you don't like Don. Your
comment was really uncalled for.
......
Amen!
Mark Doukakis
Am I the only one who found Mr. Garvin's remarks about Don Rosa to be
especially ironic considering how he calls Don arrogant, and then
proceeds to tell us how he suggested the idea of a Barks painting to him
on one of his "many visits" to his home.
......
No, you're not! I agree that Mr. Garvin is out of line here. Mr. Garvin
and Mr. Rosa are both too intelligent and too valuable contributors to
this list to fight over something that can't be won ? the opinion of
another. Mr. Garvin ought to let Mr. Rosa express himself without
attempting to drop-kick him through the (well earned) laurels of the
latter.
RODNEY said:
And Daniel.........we all know very well how you don't like Don. Your
comment was really uncalled for.
......
Amen!
Mark Doukakis
Kriton Kyrimis
DCML digest, Vol 1 #563 - 10 msgs
Message 126 -
2001-06-12 at 09:45:18
OLIVIER:
> One final thing: does anyone know why Barks so drastically changed
> Daisy & Gladstone in his very last stories (the beauty salon and the
> Ancient Mariner ones)? Editorial demand, I presume? How horrible
> they look! they can't be Daisy and Gladstone! They must be-- they
> have to be-- cons!
Perhaps it was Barks' way of forcing his editors to allow him to retire:
"if you don't let me go, I'll start drawing my characters like this"!
I always wondered why he left "King Scrooge The First" unfinished;
perhaps he grabbed the first opportunity to go on retirement, before
his editors changed their mind!
FRANCESCO:
> They needed *two* short guys so that while one would be picking up the
> jewels the other could just take them away, since there was little time to
> do it, for the water falling.
Which is another thing that wasn't explained in the version I read.
Nobody talked about this or seemed to be aware of the problem beforehand,
there was no explanation given as to why the cave started to flood as
soon as Mickey entered it, or at least some indication that Mickey had
sprung some kind of booby trap, and Mickey appeared unaware that the
cave was flooding until it was almost too late.
Sounds like another case of "The Lentils of Babylon", where the subtle
detail on which the plot hangs is lost in translation. :(
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"I am not expendable, I am not stupid and I am not going!"
-----
> One final thing: does anyone know why Barks so drastically changed
> Daisy & Gladstone in his very last stories (the beauty salon and the
> Ancient Mariner ones)? Editorial demand, I presume? How horrible
> they look! they can't be Daisy and Gladstone! They must be-- they
> have to be-- cons!
Perhaps it was Barks' way of forcing his editors to allow him to retire:
"if you don't let me go, I'll start drawing my characters like this"!
I always wondered why he left "King Scrooge The First" unfinished;
perhaps he grabbed the first opportunity to go on retirement, before
his editors changed their mind!
FRANCESCO:
> They needed *two* short guys so that while one would be picking up the
> jewels the other could just take them away, since there was little time to
> do it, for the water falling.
Which is another thing that wasn't explained in the version I read.
Nobody talked about this or seemed to be aware of the problem beforehand,
there was no explanation given as to why the cave started to flood as
soon as Mickey entered it, or at least some indication that Mickey had
sprung some kind of booby trap, and Mickey appeared unaware that the
cave was flooding until it was almost too late.
Sounds like another case of "The Lentils of Babylon", where the subtle
detail on which the plot hangs is lost in translation. :(
Kriton (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"I am not expendable, I am not stupid and I am not going!"
-----
Marco Barlotti
Barks's "new" Daisy
Message 127 -
2001-06-12 at 11:52:11
At 17.03 11/06/01 +0200, "Olivier" <mouse-ducks at wanadoo.fr> wrote:
>
>
>One final thing: does anyone know why Barks so drastically changed
>Daisy & Gladstone in his very last stories (the beauty salon and the
>Ancient Mariner ones)? Editorial demand, I presume? How horrible
>they look! they can't be Daisy and Gladstone! They must be-- they
>have to be-- cons!
>
The story W WDC 308-06 "The Beauty Business" ends with Donald "creating"
whith his beauty business a new Daisy. As a sort of continuity, Daisy keeps
the same look in the last stories written and drawn by Barks in which she
appears:
W WDC 312-01 "The Not-so-ancient Mariner" and W US 68-02 "Hall of the
Mermaid Queen". Maybe Barks wanted to leave us with a "modern" Daisy, who
knows?
Remember that W WDCD 5-?2 "The Dainty Daredevil" was drawn by Barks but not
written by him.
Marco
http://marcobar.cce.unifi.it/Fumetti/IndiceBarks.html
>
>
>One final thing: does anyone know why Barks so drastically changed
>Daisy & Gladstone in his very last stories (the beauty salon and the
>Ancient Mariner ones)? Editorial demand, I presume? How horrible
>they look! they can't be Daisy and Gladstone! They must be-- they
>have to be-- cons!
>
The story W WDC 308-06 "The Beauty Business" ends with Donald "creating"
whith his beauty business a new Daisy. As a sort of continuity, Daisy keeps
the same look in the last stories written and drawn by Barks in which she
appears:
W WDC 312-01 "The Not-so-ancient Mariner" and W US 68-02 "Hall of the
Mermaid Queen". Maybe Barks wanted to leave us with a "modern" Daisy, who
knows?
Remember that W WDCD 5-?2 "The Dainty Daredevil" was drawn by Barks but not
written by him.
Marco
http://marcobar.cce.unifi.it/Fumetti/IndiceBarks.html
Magnus Bark
Barks's "new" Daisy
Message 128 -
2001-06-12 at 12:29:20
Marco Barlotti <marcobar at ds.unifi.it>, wrote at Tue, 12 Jun 2001
11:03:59 +0200 (MET DST):
> At 17.03 11/06/01 +0200, "Olivier" <mouse-ducks at wanadoo.fr> wrote:
> >
> >
> >One final thing: does anyone know why Barks so drastically changed
> >Daisy & Gladstone in his very last stories (the beauty salon and the
> >Ancient Mariner ones)? Editorial demand, I presume? How horrible
> >they look! they can't be Daisy and Gladstone! They must be-- they
> >have to be-- cons!
> >
>
> The story W WDC 308-06 "The Beauty Business" ends with Donald
> "creating" whith his beauty business a new Daisy. As a sort of
> continuity, Daisy keeps the same look in the last stories written and
> drawn by Barks in which she appears: W WDC 312-01 "The Not-so-ancient
> Mariner" and W US 68-02 "Hall of the Mermaid Queen". Maybe Barks
> wanted to leave us with a "modern" Daisy, who knows? Remember that W
> WDCD 5-?2 "The Dainty Daredevil" was drawn by Barks but not written
> by him.
Hi;
As a novice, I'm not familliar with this new look att all. Anyone got
any good pointers to imageson the www?
Thanks,
--
Magnus Bark
<bark at bofh.se>
11:03:59 +0200 (MET DST):
> At 17.03 11/06/01 +0200, "Olivier" <mouse-ducks at wanadoo.fr> wrote:
> >
> >
> >One final thing: does anyone know why Barks so drastically changed
> >Daisy & Gladstone in his very last stories (the beauty salon and the
> >Ancient Mariner ones)? Editorial demand, I presume? How horrible
> >they look! they can't be Daisy and Gladstone! They must be-- they
> >have to be-- cons!
> >
>
> The story W WDC 308-06 "The Beauty Business" ends with Donald
> "creating" whith his beauty business a new Daisy. As a sort of
> continuity, Daisy keeps the same look in the last stories written and
> drawn by Barks in which she appears: W WDC 312-01 "The Not-so-ancient
> Mariner" and W US 68-02 "Hall of the Mermaid Queen". Maybe Barks
> wanted to leave us with a "modern" Daisy, who knows? Remember that W
> WDCD 5-?2 "The Dainty Daredevil" was drawn by Barks but not written
> by him.
Hi;
As a novice, I'm not familliar with this new look att all. Anyone got
any good pointers to imageson the www?
Thanks,
--
Magnus Bark
<bark at bofh.se>
Halsten Aastebol
Barks's "new" Daisy
Message 129 -
2001-06-12 at 13:29:23
At 10:52 12.06.01 +0200, Marco Barlotti wrote:
>The story W WDC 308-06 "The Beauty Business" ends with Donald "creating"
>whith his beauty business a new Daisy. As a sort of continuity, Daisy keeps
>the same look in the last stories written and drawn by Barks in which she
>appears:
>W WDC 312-01 "The Not-so-ancient Mariner" and W US 68-02 "Hall of the
>Mermaid Queen". Maybe Barks wanted to leave us with a "modern" Daisy, who
>knows?
I've read somewhere that the editors wanted Barks to modernize Daisy and
include her as title character in order to appeal to girls of the late
1960s. This was one of the efforts to try stop the drop in sales figures,
thinking that if they could get just as many girls as boys to buy Disney
comics they would sell a lot more. Of course it was a fiasco. Even more
boys stopped buying them, and no girls started. At least this is what I
think about this particular question. It would take a lot more than a
simple (and silly) shift like this to reverse the general trend of dropping
sales figures for American Disney comics in the sixties.
Halsten
>The story W WDC 308-06 "The Beauty Business" ends with Donald "creating"
>whith his beauty business a new Daisy. As a sort of continuity, Daisy keeps
>the same look in the last stories written and drawn by Barks in which she
>appears:
>W WDC 312-01 "The Not-so-ancient Mariner" and W US 68-02 "Hall of the
>Mermaid Queen". Maybe Barks wanted to leave us with a "modern" Daisy, who
>knows?
I've read somewhere that the editors wanted Barks to modernize Daisy and
include her as title character in order to appeal to girls of the late
1960s. This was one of the efforts to try stop the drop in sales figures,
thinking that if they could get just as many girls as boys to buy Disney
comics they would sell a lot more. Of course it was a fiasco. Even more
boys stopped buying them, and no girls started. At least this is what I
think about this particular question. It would take a lot more than a
simple (and silly) shift like this to reverse the general trend of dropping
sales figures for American Disney comics in the sixties.
Halsten
SRoweCanoe
Everybody's an art critic
Message 130 -
2001-06-12 at 13:56:44
In a message dated 6/11/2001 10:41:41 PM Eastern Daylight Time,
dcml-request at stp.ling.uu.se writes:
> <<This was not an unsolicited argument. You solicited the argument when you
> expressed an opinion that Barks should not be remembered
> for his paintings. I stand by my assertion that anyone who feels this way
> has not bothered to examine the fully body of Barks work
> from this period, making them ignorant>>
I've seen many reproductions of Barks' paintings...
Isn't it enough that the man was a genius of comic book art and story?
Why try to insist that everything he did was great?
His paintings are not great.
Further, I don't believe Barks ever claimed they were great.
Indeed, I feel sure that he knew people were buying them for his name and the
subject matter - which is why he switched from other subjects to just ducks.
To say that Barks is not a world class painter is NOT an insult to Barks.
If you like them, fine, it's your money, your taste. But to insist that
Barks will be remembered as a painter - (by anyone other than Disney Duck
fans) is a bit much...
Steven Rowe
Steven Rowe
dcml-request at stp.ling.uu.se writes:
> <<This was not an unsolicited argument. You solicited the argument when you
> expressed an opinion that Barks should not be remembered
> for his paintings. I stand by my assertion that anyone who feels this way
> has not bothered to examine the fully body of Barks work
> from this period, making them ignorant>>
I've seen many reproductions of Barks' paintings...
Isn't it enough that the man was a genius of comic book art and story?
Why try to insist that everything he did was great?
His paintings are not great.
Further, I don't believe Barks ever claimed they were great.
Indeed, I feel sure that he knew people were buying them for his name and the
subject matter - which is why he switched from other subjects to just ducks.
To say that Barks is not a world class painter is NOT an insult to Barks.
If you like them, fine, it's your money, your taste. But to insist that
Barks will be remembered as a painter - (by anyone other than Disney Duck
fans) is a bit much...
Steven Rowe
Steven Rowe
Daniel Van Eijmeren
For Rodney W Bowbock
Message 131 -
2001-06-12 at 14:20:29
RODNEY W BOWCOCK, 11-06-2001:
> And Daniel.........we all know very well how you don't like Don.
There is not a word of truth in what you write about me.
Best wishes,
--- Daniel
> And Daniel.........we all know very well how you don't like Don.
There is not a word of truth in what you write about me.
Best wishes,
--- Daniel
Kriton Kyrimis
DCML digest, Vol 1 #565 - 4 msgs
Message 132 -
2001-06-12 at 14:43:09
ROB:
> The many varying styles of the Ducks drawn for Western Publishing (K.K. &
> Whitman)
I assume you mean "G.K" (i.e., "Gold Key")!!!
K.K. (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"I am not expendable, I am not stupid and I am not going!"
-----
> The many varying styles of the Ducks drawn for Western Publishing (K.K. &
> Whitman)
I assume you mean "G.K" (i.e., "Gold Key")!!!
K.K. (e-mail: kyrimis at cti.gr)
(WWW: http://dias.cti.gr/~kyrimis)
-----
"I am not expendable, I am not stupid and I am not going!"
-----
Dr. Archontis Pantsios
MIKY MAOUS...and more
Message 133 -
2001-06-12 at 15:01:46
SCOTTY ARSENAULT:
> Hello. I have a question, if anyone can help.
> How can I subscribe to these books from the United States?
You mean you really wanna subscribe to comics from Greece? Won't all of it
be "Greek" to you?
:-))
Seriously now, I can tell you that there currently 6 regular titles and all
of them do offer international subscriptions. I don't have the information
handy about sub rates, but I can check and let the List know ASAP.
Cheers,
Archontis
----------------------------------------------------------------------------
-----------
Archontis L. Pantsios, Ph.D.
Assistant Academic Dean & Associate Professor of Economics
The American College of Thessaloniki
Thessaloniki, GREECE
tel.: +30 31 398 228
> Hello. I have a question, if anyone can help.
> How can I subscribe to these books from the United States?
You mean you really wanna subscribe to comics from Greece? Won't all of it
be "Greek" to you?
:-))
Seriously now, I can tell you that there currently 6 regular titles and all
of them do offer international subscriptions. I don't have the information
handy about sub rates, but I can check and let the List know ASAP.
Cheers,
Archontis
----------------------------------------------------------------------------
-----------
Archontis L. Pantsios, Ph.D.
Assistant Academic Dean & Associate Professor of Economics
The American College of Thessaloniki
Thessaloniki, GREECE
tel.: +30 31 398 228
Don Rosa
Yyyyikes.
Message 134 -
2001-06-12 at 15:07:44
Well, naturally I won't respond-in-kind to any of that. Yes, I'm
opinionated, as is everyone. Proud of it. But I am allowed to express those
opinions, again, as is everyone here, without being insulted by someone who
wants to drag me into a vicious, name-calling debate which I have no
interest in, nor will I suddenly & unconditionally confess to having a
"wrong-headed opinion" just because someone wants me to do so. What a
strange notion!
Well, good, another unpleasant surge of bile is over. We move on......
opinionated, as is everyone. Proud of it. But I am allowed to express those
opinions, again, as is everyone here, without being insulted by someone who
wants to drag me into a vicious, name-calling debate which I have no
interest in, nor will I suddenly & unconditionally confess to having a
"wrong-headed opinion" just because someone wants me to do so. What a
strange notion!
Well, good, another unpleasant surge of bile is over. We move on......
Per-Erik Malmström
Everybody's an art critic
Message 135 -
2001-06-12 at 16:35:32
Steven Rowe wrote:
> I've seen many reproductions of Barks' paintings...
> Isn't it enough that the man was a genius of comic book art and story?
> Why try to insist that everything he did was great?
> His paintings are not great.
In my opinion, they are. We all have different tastes. If I were to decide what is great and what is not, you would be able to buy a Picasso for a penny. Or two.
Luckily for the rest of the world, our tastes in art have little value outside our own homes.
Best Wishes
/Per-Erik
> I've seen many reproductions of Barks' paintings...
> Isn't it enough that the man was a genius of comic book art and story?
> Why try to insist that everything he did was great?
> His paintings are not great.
In my opinion, they are. We all have different tastes. If I were to decide what is great and what is not, you would be able to buy a Picasso for a penny. Or two.
Luckily for the rest of the world, our tastes in art have little value outside our own homes.
Best Wishes
/Per-Erik