[H4G]∎ Download Gratis Wordless Books The Original Graphic Novels David A Beronä Peter Kuper Books

Wordless Books The Original Graphic Novels David A Beronä Peter Kuper Books

Download As PDF : Wordless Books The Original Graphic Novels David A Beronä Peter Kuper Books

Wordless Books The Original Graphic Novels David A Beronä Peter Kuper Books

The book arrived in excellent conditions and it's beautiful! It's a quite good achievement for researchers in graphic novels and for everyone who likes comics.


Tags : Amazon.com: Wordless Books: The Original Graphic Novels (9780810994690): David A. Beronä, Peter Kuper: Books,David A. Beronä, Peter Kuper,Wordless Books: The Original Graphic Novels,Harry N. Abrams,0810994690,Graphic novels - History and criticism,Graphic novels.,Wood-engraving - 20th century,Wood-engraving;20th century.,20th century,COMICS & GRAPHIC NOVELS General,COMICS & GRAPHIC NOVELS Literary,COMICS & GRAPHIC NOVELS Nonfiction General,Comics & Graphic Novels,Fine Arts,GRAPHIC NOVELS,GRAPHIC WORKS NONFICTION,General Adult,History,History of art & design styles: from c 1900 -,History of art art & design styles,LITERARY CRITICISM Comics & Graphic Novels,Literary Criticism,Non-Fiction,United States,Wood-engraving

Wordless Books The Original Graphic Novels David A Beronä Peter Kuper Books Reviews

"Gordijnen dicht! Ga zitten met dit boek, leeslampje aan en ga plaatjes kijken. Denk niet teveel na als je een of twee plaatjes niet meteen begrijpt, zoals je dat wel `ns met scènes in een film hebt."
Met deze wervende woorden introduceerde de Duitse Nobelprijswinnaar Thomas Mann een woordloze beeldroman van de Belgische graficus Frans Masereeel `Mein Stundenbuch' (1919) Begin 20ste eeuw gingen film en illustratie een tijdje gelijk op. In zwijgende films vertelden overdreven expressies een beeldend verhaal. Dat met het spreken een literaire vorm ontstond in de film vinden puristische cinefielen eigenlijk een zwaktebod.
David Beronä laat in zijn prachtig uitgevoerde maar tam getoonzette "Wordless books" zien hoe de zwijgende film vol aangezette emotie en melancholie een pendant had bij grafische kunstenaars van die dagen. Je ziet hier en daar de overdreven diagonale composities en decors uit de Duitse expressionistische films terug. Later overheerst een sombere atmosfeer uit de Amerikaanse film noir en hard boiled-novels (Raymond Chandler).
Woordloze boeken beschouwt Beronä als voorlopers van de huidige `graphic novels', literair getinte stripverhalen' zoals Will Eisner, Art Spiegelman (en Dick Matena) die maken.
De Amerikaanse en Europese pioniers werden vaak beïnvloed door Masereel. Beronä presenteert onder meer Lynd Ward, Giacomo Patri, Otto Nückel, William Gropper, Milt Gross, Laurence Hyde. Met hun krachtige icoonachtige beelden laten ze geen twijfel bestaan over hun linkse politieke stellingname. Niet zelden ontaarden hun verhalen over werkeloosheid, dronkenschap, geslagen vrouwen tot smartlappen (letterlijk uitgebeelde huil-liederen) waar de Zangeres zonder Naam zo goed in was.
Beronä noemt echter nergens de invloeden van Sovjet propaganda, stilistisch voortkomend uit de Russische volks- en kerkkunst. Verder had enige kunsthistorische context van boekverzorgers als Jozef Cantré (bij Elsschot) tot illustratief werkende kunstenaars als Georg Grosz, Jules Pascin of Edgard Tytgat zijn betoog ook meer scherpte gegeven.
Wel legt hij duidelijk het verschil tussen de groffe houtsnede (altijd van je afsnijden met de nerf mee) en de fijnere houtgravure (juist tegen de nerf) uit. Otto Nückel blijkt echter ook met kruisarceringen in lood te kunnen snijden. William Gropper ontlokte zijn geestige acrobatenverhaal Alay-oop (1930) gewoon aan een elegante penseelvoering en Oost-Indische inkt. Hier denk je trouwens aan de mild-humoristische (Remco Campert-achtige) verhalen van befaamde New Yorker-schrijver James Thurber.
Bij Milt Gross en Myron Waldmann zie je duidelijk de stijl van slapstick animatiefilms als Betty Boop en Popeye uit die dagen. Waldmann werkte later bij de animatiefimstudio van Max Fleischer.
Misschien is `woordloos boek' als genre toch te smal en meer een tussenstadium.
Zo werden Gropper maar ook de losjes tekenende e.o plauen, het in onderkapitaal gespelde pseudoniem van de Duitser Erich Ohser gezichtsbepalende illustratoren. Ohser illustreerde voor de humanistische kinderboekenschrijver Erich Kästner. Als e.o. plausen maakte hij ongecompliceerde vader-zoon strips als grappige kritiek op het aloud Pruisisch paternalisme. Het is bepaald wrang dat Ohser zijn anti-Nazi houding moest bekopen met de dood.
Over de gecompliceerde - beter vermorzelde - positie van Amerikaanse socialisten die als een schaduw over veel woordloze novellen hangt zouden ook veel meer woorden te schrijven zijn dan waaraan Beronä zich waagt.
In the early 20th century, a few innovative artists created visionary pictorial novels composed entirely of illustrations. The undisputed masters of the genre were the Belgian woodcut artist Frans Masereel and the American wood engraver Lynd Ward. These two artists, and a small group of followers inspired by their work, created wordless narratives of exceptional artistic and literary quality, which served as the precursors to the graphic novel as we know it today. In this 2008 study of the subject, David A. Beronä examines the work of eleven artists whose books were published from 1918 to 1951. In recent years, no other scholar has done as much to draw attention to and bring deserved respect to these influential works of art than Beronä. If anyone is qualified to write the definitive history of this art form, it's him. Unfortunately, this isn't it.

This book contains less than 45 pages of text. Chapter one, entitled "Historical Background," is only two and a half pages long. Each artist gets about two paragraphs of biographical information, with the exception of Masereel and Ward, who maybe get a page each. 90 percent of the text consists of Beronä summarizing the plots of the books, complete with spoilers. For each work, Beronä's synopsis is supported by roughly ten percent of each book's illustrations, from which he makes points about the artist's technique and choice of imagery. There are a few cases where he makes some insightful comments in regard to historical context, but mostly he's not telling you anything you wouldn't figure out from looking at the original works themselves. If you are interested enough in this art form to purchase a book like this, wouldn't you rather get the reprint editions of these wordless novels and "read" them yourself, rather than be told second-hand everything that takes place within their covers?

You can't go wrong with a book full of these stunning and powerful images, and they are reproduced beautifully. But the question is, how much of an education on the subject does this book really provide? What enthusiasts of woodcut novels and wordless books could really use is an in-depth scholarly study of the subject, with more concrete information on the artist's lives, the development of their techniques, the artists and writers that influenced them and who they in turn influenced, the creation and publication of their wordless books, and the historical context in which this art form was created. This should be supported by illustrations that show examples of the art, without giving you so many pictures, taken out of context, as to hinder your enjoyment of reading the actual works. If the purpose of Wordless Books is to inspire a readership of these works, how is this purposed served by telling us which characters live or die? The experience one gets from Beronä's study is roughly equivalent to trying to learn about the history of American literature through a series of Reader's Digest condensed books.

Beronä should be commended for his career of work on this subject, but all the promotional copy I've read on this book leads one to believe it is a definitive scholarly study of wordless books, which it is not. Instead, it's like reading a collection of the two-page introductions to the Dover reprint editions of many of these works. So why not just collect the Dover reprints, or seek out the works of these great artists through your local university library?
The book was excellent! Fabulous binding and printing; one of the best I've ever seen. Service was very good and the product was packaged well. This was the best possible On-Line experience.
This is a list of several wordless books from the first half of the twentieth century. It gives some historical background and then lists about a dozen of the most influential authors and their most important work.

I felt odd that you have a kind of long description of their wordless books and few selected images of each...I was looking for lots of drawings and a lot less text so I am a bit disappointed, also the selection is very heterogeneous in quality.

On the good side, it is a beautiful hard-cover book with good satin paper and the reproductions are very well done. If you're looking for full stories I recommend you to google the authors to choose the ones you like most and then buy their work. You can find most of the reprints here at , what makes this book a bit redundant and pointless.
The book arrived in excellent conditions and it's beautiful! It's a quite good achievement for researchers in graphic novels and for everyone who likes comics.