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Got to Love the Steranko

Started by Ijiwaru Sensei,

30 posts in this topic

Prince Namor

Prince Namor

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Posted
I met Steranko at a show back in the mid to late 90's. Great guy.

Has to be the most influential comic book artist with the smallest amount of output in all of comics. Just a great talent.

 

I think one of the reasons he is so well respected in comics is because his "greatness" wasn't limited to just comics (or drawing for that matter). He didn't need comics as much as they needed him.

 

He came in, made an impact and then left to pursue other things, unlike other artists who come in and then don't leave.

 

(thumbs u

 

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jonjesper

jonjesper

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Steranko's work was infused with the drug scene at the time of publication. Such as the line where Fury can' t believe how 'high he is' falling out of an airplane (don't remember if it was published or not). You can see in the original post how psychadelic the images are. A true master and one of my all time favorites (and the only creator I was too nervous to speak to until a friend made me lol).

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jools&jim

jools&jim

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I think one of the reasons he is so well respected in comics is because his "greatness" wasn't limited to just comics (or drawing for that matter). He didn't need comics as much as they needed him.

 

He came in, made an impact and then left to pursue other things, unlike other artists who come in and then don't leave.

 

 

:applause:

 

Well said, Roy!

 

The way I see it (and I know it's not a perfect analogy), Steranko was to comics in his day as Dylan was to Rock-and-Roll ca. 1965-66: i.e., both of their reputations were sealed by a (relatively) limited body of work (for Steranko, a handful of late '60s Marvels; for Dylan, three astounding LPs--"Bringing it All Back Home", "Highway 61 Revisited", and "Blonde on Blonde"); their work was an eye-opening game changer for many people working in the field at the time; and then they both moved on (or dropped out). Art? You bet!

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VintageComics

VintageComics

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I think one of the reasons he is so well respected in comics is because his "greatness" wasn't limited to just comics (or drawing for that matter). He didn't need comics as much as they needed him.

 

He came in, made an impact and then left to pursue other things, unlike other artists who come in and then don't leave.

 

 

:applause:

 

Well said, Roy!

 

The way I see it (and I know it's not a perfect analogy), Steranko was to comics in his day as Dylan was to Rock-and-Roll ca. 1965-66: i.e., both of their reputations were sealed by a (relatively) limited body of work (for Steranko, a handful of late '60s Marvels; for Dylan, three astounding LPs--"Bringing it All Back Home", "Highway 61 Revisited", and "Blonde on Blonde"); their work was an eye-opening game changer for many people working in the field at the time; and then they both moved on (or dropped out). Art? You bet!

 

As my brother in law once told me, the most successful people seem to go from "strength to strength", meaning they don't stay past their prime and leave out of weakness, but rather they move from out of a position of strength, into a new role of strength and do an above average job. When their job there is done, they then move on to the next task while they are still in a position of strength.

 

This sort of movement creates an enigmatic reputation. Much like Dylan. (thumbs u

 

That stuck with me every since he explained it to me.

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