A Danish edition of the internationally distinguished Finnish comics newspaper will be released in Copenhagen this Friday. The release is marked by a reception at the Storm P. Museum, just in time for Copenhagen Comics — the grand, international comics festival which will take place in Ã˜ksnehallen, Copenhagen, this coming weekend.
Comics people on the festival circuit or their ear to the underground will be familiar with the free Kuti anthology, which since the early issues has been published with English subtitles and has already seen several local edition featuring cartoonists of a particular country. The Danish edition is the 28th issue published so far and half of it is entirely devoted to Danish artists. The editors of this section are Zven Balslev, Søren Mosdal, and Jacob Ã˜rsted, while the other half, published under a separate cover on the flipside, has been edited by the publisher at the Kuti Kuti studio in Helsinki.
Artists included in the Danish section: Rikke Bakman, Johan F. Krarup, Storm P., Claus Deleuran, Zven Balslev (who has also provided the cover for the section, above left), Jacob Ã˜rsted, Jon Andersen, Rikke Villadsen, Jan Oksbøl Callesen, Søren Mosdal, Bue Bredsdorff, Karla Holmbäck og Luca Bjørnsten. In addition to this, the section includes two articles on Danish comics, by Erik Barkman and yours truly.
Come to the reception and kick off your convention weekend in style. The Storm P. Museum is currently showing an impressive exhibition on the Japanese ‘God of Comics’ Osamu Tezuka, in case you need more convincing. If you are unable to come, pick up a copy at the festival or read in online here.
The great Barocci show at the National Gallery in London closed last Sunday. I’d been meaning to write something about it here since I saw it in its first weeks, but things got in the way and I never got around to it. The show, however, has stuck in my memory as a particularly exhilarating one, an excellent combination of great art and curatorial rigor, as well as a discovery for many, I’m sure. I had long admired Federico Barocci (c. 1533/35–1612) as a draughtsman, especially after the exquisite show at the Fitzwilliam in 2006, but had remained more tepid on his paintings. This show changed that, revealing as it did the simultaenously searching and visionary qualities of his work.
I still don’t have the time for a thorough write-up, but here are some scattered notes, written from memory:
Whoa, a couple of pieces I wrote on comics last year have been selected among the best pieces of online comics criticism of 2012 by a panel of judges at The Hooded Utilitarian. I’m flattered, not the least to be in the august company of a selection of really excellent pieces from a variety of writers, several of whom I admire a lot. Although I’m proud of the two pieces in question — my review of the first volume in Fantagraphics’ complete edition of Carl Barks’ Disney comics and my critical piece on New Yorker cartoons — it’s hard for me to agree with the selection in a year when a lot of great comics criticism was published. Give me half an hour and I’ll match any of my pieces with something better… wait, Suat mentions a bunch in his ‘notable omissions’ section at the end, so I won’t have to!
The Best Online Comics Criticism is an annual feature at The Hooded Utilitarian, run by Ng Suat Tong. It’s been interesting to follow it, and I must say this year’s edition has been the most convincing yet, in execution if not in the final selection. Suat has been really thorough, running quarterly reviews in order to reduce the risk of missing significant pieces in the final round. Those are great overviews in themselves and also rather hilarious for Suat’s pithy comments on the nominations.
One thing that’s unfair about the feature is that Suat himself will never be in the running, for obvious reasons. To my mind, he wrote several pieces in 2012 worthy of consideration. His meticulously sourced approach proves illuminating on Mattotti and Zentner’s The Crackle of the Frost, for example, while his skill at ideological criticism comes to the fore in his review of Joe Sacco’s Journalism. His command of visual reference is on display in his piece on Lovecraft in comics, and his critique of Alison Bechdel’s Are You My Mother? is commendable for its dissection of the book’s complex if also smothering structure.
Anyway, the Best Online Comics Criticism is your one-stop linkage to a lot of great comics criticism. It kind of makes one optimistic on behalf of this still fledgling discipline. Go and explore.
The image at top is from Craig Fischer’s fantastic essay on serial photography, photocomics, and memory, which is also (kinda) among the year’s selections.
The week in review.
Well, what do you know? The Dutch portrait head that surfaced at a small English auction sale in 2007 and was bought as a Rembrandt for Â£2 million has now been acquired by the Getty as the earliest known self-portrait by the master for an undisclosed sum. It now also carries the Ernst van de Wetering stamp of approval, which one should take seriously even if his and the Rembrandt Research Project’s track record is far from consistently convincing. (Check this video where van de Wetering talks up the picture).
I haven’t seen the picture in the flesh, but it still looks like a pastiche to me. Like somebody imitating Rembrandt, overdoing his signature paint application and stylistic flourishes — the impastoed facial modeling, the strong contrast, the patchy fill-in of the background. But I am no specialist and may of course be entirely wrong.
Links (it’s been a while!)
This year sees the fifth international comics festival in Copenhagen, this year under the name Copenhagen Comics. I’m biased, but I think the organisers have put together a truly impressing program this year, topping even that of 2010, which was stellar. It’s on the weekend of June 1-2 at Ã˜ksnehallen in Copenhagen, with additional events on Friday 19.
Among the international guests are Anke Feuchtenberger, Jaime Hernandez, Melinda Gebbie, Emmanuel Guibert, and Jiro Taniguchi, while on the genre side, people like Jill Thompson, Brian Azzarello, Frazer Irving and Charlie Adlard are representing. As usual, there’ll be tons of events, interviews, workshops, exhibits, and all that.
In addition, we at the Danish Comics Council are planning an academic colloquium at the University of Copenhagen on Friday 19, free and open to all. The theme is teaching comics and comics as teaching tool. An international panel of scholars and cartoonists will be present and yours truly will be on hand to conduct an artist talk with Adlard, about storytelling, The Walking Dead, and cross-media success.
The culmination of the weekend, however, will no doubt be the Ping Awards ceremony on Saturday night. Last year, the the Danish comics website Nummer9.dk and the Danish Comics Council launched this new industry award, named after the beloved Storm P. character from the strip Peter og Ping, in collaboration with the Storm P. Museum. After a sold-out smash of a party last year, we’re looking forward hopefully to topping ourselves with an even more ambitious show. Read more about the show, the awards and the people behind at the Ping website (and on Facebook), and buy your ticket now, before they sell out.
Above: Bunker denizen Thomas Thorhauge’s festival poster. See his process report here.
Apparently the picture above was sold at auction in Switzerland last week. It went for â‚¬460,000 at hammer, which is a hell of a lot for a picture described as copied after Titian in the sales catalogue. Clearly several bidders suspected it might be the real thing.
Brendor Grosvenor of Philip Mould informs us that the picture is extremely dirty, which makes fair judgement difficult, as does the inferior digital reproduction. My immediate reaction was that it looks like the so-called Portrait of Baldassare Castiglione in Dublin, a picture which is usually dated 1523, because we know that Castiglione (1478-1529) visited Venice that year. The identification of the sitter in the picture, however relies mostly on what is clearly a later annotation at top right. The likeness, if compared to confirmed portraits of Castiglione such as the famous one by Raphael, is slight, and stylistically the Dublin picture looks to me to be from around 1530 or even somewhat later.
Returning to the picture at hand, it shows the same conception of figure: not only is the sitter posed very similarly, with an opening toward a landscape at left, but the device of him looking into space, as if in thought, with a proud, slightly elevated demeanor seems to me to be something Titian developed around this time, and would later take to great heights in his humanist portraits of the following decades.
That being said, the picture does not immediately strike me as by the master himself. The handling of colour in the face especially seems to me a little to dry and overbaked, with none of the vibrancy of Titian. The hand looks better though and the rest of the picture is impossible to judge.
I may of course be entirely wrong: working from a reproduction is unreliable at the best of times and this particular image is exceptionally muddled, as apparently is the painting itself. Also, Titian’s quality of finish did vary, as is evident from the recently upgraded Portrait of Gerolamo Fracastoro at the National Gallery — an attribution that I’m coming around to, even if the picture is discouraging in terms of its quality. Lastly, the painting may have been retouched by a later hands, as often happens — especially with damaged pictures.
I do not know who Gabriel Solitus of Ferrara was and have not had the time to look him up. Obviously, any serious investigation of the painting would have to take into account this identification, which was presumably added to the painting by somebody other than the artist in a cartouche at upper right, reproduced separately at the auctioneer’s entry for the painting. Incidentally, the Dublin portrait carries its annotation in the same area.
It’s been out for a while, but I still wanted to mention that the new issue of the recently revamped, book-format Comics Journal (#302) is a real treat, what with Gary Groth’s marathon-length interview with the late Maurice Sendak, a roundtable on kids comics featuring Art Spiegelman, Jeet Heer, Paul Levitz, and Paul Karasik, plus Tim Kreider on Chester Brown, Donald Phelps on Percy Crosby, Bob Levin on the ‘Keep on Truckin’ lawsuit, Tom Crippen on Mort Weisinger (again!), and much more.
A major attraction for yours truly. however, is Kim Thompson’s career-spanning interview with Jacques Tardi. An eye-opener on several levels, even for people familiar with his work, not least for the background it provides on his recent, major work of family history, Moi, René Tardi, prisonnier de guerre au Stalag IIB (which I wrote about in Danish here). I also have an essay in there, on Tardi’s classic Leo Malet adaptation 120, Rue de la Gare (1988), which may be of interest not only to Tardi afficionados, but also people interested in the issues of auteur comics touched upon in my recent essay at Hooded Utilitarian and the discussion it spurred.
Here’s publisher Fantagraphics’ preview:
In the latest instalment of my irregular column at the Hooded Utilitarian I present a late entry in the debate kicked off last month by Eddie Campbell, with his essay for The Comics Journal, “The Literaries”. In his essay, Campbell took issue with the insistence by some critics not just of comparing the achievements of comics with those of other art forms, but also what he saw as an unfortunate, concomitant tendency to understand comics by the logic of other media, especially literature.
It should come as no surprise that I’m sympathetic at least to the second part, having long thought that the visual aspects of comics tend to get short shrift in serious comics criticism. So… well, do pop over and take a look at my column. And do comment — it’s a difficult issue and one that needs more thought, so I would love to hear what you think.