Who was the greatest overall Golden Age comic book artist? 4 4

[sfcityduck]

On 8/7/2023 at 6:10 PM, bronze johnny said:

Respectfully…agree…to disagree and I stand by my position. 

We all are entitled to our opinions and a diversity of opinions can lead to great conversation.

[sfcityduck]

On 8/7/2023 at 3:44 PM, Ryan. said:

In terms of overall volume, panel to panel storytelling, creativity and general artistry, Barks is far, far ahead of everyone in the Golden Age, and also the Silver through Modern Ages.

McCay probably takes it for the Platinum Age.

McCay, Foster, Raymond, Caniff/Sickles could be a tie.  They all were hugely talented, produced work which puts comic book word to shame (pay and time made a difference), and were monumentally influential.  However, I'd say that McCay had more influence on animation whereas Foster, Raymond, and Caniff/Sickles had the greater impact on comic book artists. 

[bronze johnny]

On 8/7/2023 at 9:21 PM, sfcityduck said:

We all are entitled to our opinions and a diversity of opinions can lead to great conversation.

True and I’ve debated this time immemorial and there’s an Atomic Age in between the Gold and Silver Ages. Maybe I will circle back after finally getting around to the 53 Edition of the Overstreet Price Guide.

[sfcityduck]

On 8/7/2023 at 6:39 PM, bronze johnny said:

True and I’ve debated this time immemorial and there’s an Atomic Age in between the Gold and Silver Ages. Maybe I will circle back after finally getting around to the 53 Edition of the Overstreet Price Guide.

My own view is that there are no ages, only years and decades (which are very helpful for ballparking general value and content) and comic history events (which are very helpful for guys like me that like to talk about what was happening in the "comic world" and how it related to the real world).  

[OtherEric]

I went with Wally Wood, although I'm not sure how meaningful I actually consider the question.  But most of the choices were excellent at one or a few types of comic stories or covers, while Wood (on one of his good days) was excellent at almost any type of comic.  I've said for years that the best comic artist every was Wally Wood on a good day... the catch being that, especially later in his career, he had more than his share of bad days as well.

[WolverineX]

Alex Schomburg, no question. 

Frazetta is second only because he didn't draw as many comic covers as Schomburg.  

[PopKulture]

On 8/7/2023 at 8:24 PM, sfcityduck said:

However, I'd say that McCay had more influence on animation whereas Foster, Raymond, and Caniff/Sickles had the greater impact on comic book artists. 

I agree that their work, as you wrote, was superior to the work of most of the artists we're discussing. Firstly, the strip artists were immensely talented, and secondly, their output was seldom rushed. That beautiful Raymond drybrush technique wouldn't translate somewhere where higher outputs were expected like the Iger shop. When you produce stuff like Foster's Prince Valiant (moreso than his Tarzan period) or Dave Stevens's later lavish work, there is simply going to be a temporal limit on your ability to produce at the rate of a Simon and Kirby, for instance. Additionally, I would add Hogarth to your pantheon of strip artists - Foster for those lush settings, historical accuracy and battle scenes; Raymond for his amazing brushwork and Andrew Loomis-level portraiture (often approaching nobility); Caniff for his innovative storytelling abilities and cinematic acumen; and Hogarth for his dynamism, anatomy and those unrivaled jungle backgrounds. 

Edited August 8, 2023 by PopKulture

[WolverineX]

I forgot about Lou Fine too.  

 

Edited August 8, 2023 by WolverineX

[Cat-Man_America]

Interesting thread when you consider different parameters, like body of work, cover work, interiors, comic strip work, etc.; I would've probably included Mac Raboy to the main list of comic book illustrators for both covers and interiors.

If we're talking specifically covers, my choice would be Alex Schomburg, hands down. But if interior art had to be part of the equation it would probably be a toss up between Wally Wood and Reed Crandall for the volume and overall consistent quality of work across a broad spectrum. If restricted to interior art I'd probably add Jack Cole to the list; his covers are awesome, but usually limited to just the central character(s) of interest or theme. His interiors, OTOH, were often wildly orchestrated, inventive affairs and stand out.

Also, if newspaper comics are to be considered on the list, I'd agree for the most part with the inclusion of McCay, Foster, Raymond and add Eisner for his groundbreaking Spirit section work. Winsor McCay would be my favorite newspaper comic strip artist.

[PopKulture]

On 8/7/2023 at 9:53 PM, Cat-Man_America said:

Interesting thread when you consider different parameters, like body of work, cover work, interiors, comic strip work, etc.; I would've probably included Mac Raboy to the main list of comic book illustrators for both covers and interiors.

If we're talking specifically covers, my choice would be Alex Schomburg, hands down. But if interior art had to be part of the equation it would probably be a toss up between Wally Wood and Reed Crandall for the volume and overall consistent quality of work across a broad spectrum. If restricted to interior art I'd probably add Jack Cole to the list; his covers are awesome, but usually limited to just the central character(s) of interest or theme. His interiors, OTOH, were often wildly orchestrated, inventive affairs and stand out.

Also, if newspaper comics are to be considered on the list, I'd agree for the most part with the inclusion of McCay, Foster, Raymond and add Eisner for his groundbreaking Spirit section work. Winsor McCay would be my favorite newspaper comic strip artist.

I think your points are spot-on!! 

[N e r V]

On 8/7/2023 at 4:45 PM, sfcityduck said:

Realistically, I think you have to have Bill Everett very high on the list. He was there very early. He was prominent and significant early. And he evolved his style in a way very few did such that he was still top tier while doing PCH in the 50s. He didn't fall off until the SA.

 

 

He was unusual in that he developed a lot More rapidly than other GA artists who took years to find their stride/peak. His early GA work holds up much better than others. Also most people suffering from alcohol or drug abuse see steep declines in their work. He suffered deadline problems for sure but he surprisingly produced some of his best work at the height of his alcohol abuse.

I do disagree with you however about his SA work falling off. He was pretty glorious until the end as these pieces show.

 

 

[rjpb]

Tough, question, I don't know if there can be a single answer. Frazetta did some incredible covers, and his interior work was tops in terms of finish, but it doesn't stand out for me in terms of storytelling through art. Eisner produced fantastic stuff in the postwar era, with some of the best splashes and use of panels ever, but it was almost all in service of one strip, and thus his scope feels limited. Barks, a master visual storyteller, but didn't create the kind of covers and splashes that one gets excited about. Everett produced an amazing body of work, covers and interiors both, and in nearly every genre. Johnny Craig is a personal favorite of mine, though he's associated more with the 1950s than the core of the Golden Age. And then there is someone like Alex Toth, who when he was at his best, took things to another level. The more I think about it, there is no way I can come up with an answer to the question. 

[N e r V]

Of that list they are all very very great at what they did but I’d give it to Carl Barks for his originality with what he did for the genre and Lou Fine for the earliest and closest thing the GA got early on in draftsmanship that could compare to the superior work that the newspaper strips had. For most artists the GA was a place  to learn your craft. Hey if artists like Eisner are calling you great and you were Joe Simons and Jack Kirby’s favorite artist you must be doing something right Mr. Fine…

[N e r V]

On 8/7/2023 at 6:10 PM, bronze johnny said:

Respectfully…agree…to disagree and I stand by my position. 

 

On 8/7/2023 at 6:21 PM, sfcityduck said:

We all are entitled to our opinions and a diversity of opinions can lead to great conversation.

Not to derail anything here since it’s a well purposed thread I’ll add just this. I grew up in what’s now called the Bronze Age except it wasn’t called that during that time.  I started collecting in 1973 and everyone growing up in the 1970’s called that period the Silver Age still. There was a Golden Age that started with comics introduction in 1933 and the Silver Age which was debated in the 1970’s but finally settled on as Showcase #4. There were no other ages until much later when people started creating things out of their  ***’s about Platinum, Bronze, etc. The problem is you can make cases for Platinum if it’s simply the beginning of comics and Golden Age with Action #1 since it changed the industry direction and even Showcase #4 since it (slowly) reintroduced the superheroes back into comics main driver. 
Every other age is BS until someone can clearly explain when (and why) Silver Age ended, Bronze Age began and ended, or what makes up this mysterious unexplained beginning/end of Atomic Age, etc. and you can convince most if not all of the collecting industry for these starting/end points as clearly as we understand Action #1 and Showcase #4.

Until then no one’s opinion is any better than the one that disagrees with it because it’s just that, your own personal opinion that likely doesn’t agree with many others.

People like Bedrock, myself and many others who grew up collecting in the early 1970’s are living in the Silver Age still and Bronze and all these other ages are imaginary constructs created by deviant minds that followed. None of you really exist….

 

[Primetime]

For covers, it’s Schomburg in a runaway and it’s not even a close heat. Interiors…I’m not sure…

[adamstrange]

Everett, Toth, Bailey, and Raboy are conspicuously absent from the list.

[PopKulture]

On 8/7/2023 at 10:45 PM, rjpb said:

Barks, a master visual storyteller, but didn't create the kind of covers and splashes that one gets excited about. 

 

[goldust40]

In terms of covers, it's a close call between Schomburg and Fine. I picked Schomburg as his work was just that bit more iconic, even if Fine was slightly more inventive.

And as for storytelling and innovation withing the medium, I'd go with Eisner.

Edited August 8, 2023 by goldust40

[ThothAmon]

Talk about an impossible question. In addition to the many giants already mentioned I love me some Flessel, Gustavson and O’Mealia artwork. 

[Sarg]

On 8/7/2023 at 9:53 PM, Cat-Man_America said:

Interesting thread when you consider different parameters, like body of work, cover work, interiors, comic strip work, etc.; I would've probably included Mac Raboy to the main list of comic book illustrators for both covers and interiors.

If we're talking specifically covers, my choice would be Alex Schomburg, hands down. But if interior art had to be part of the equation it would probably be a toss up between Wally Wood and Reed Crandall for the volume and overall consistent quality of work across a broad spectrum. If restricted to interior art I'd probably add Jack Cole to the list; his covers are awesome, but usually limited to just the central character(s) of interest or theme. His interiors, OTOH, were often wildly orchestrated, inventive affairs and stand out.

Also, if newspaper comics are to be considered on the list, I'd agree for the most part with the inclusion of McCay, Foster, Raymond and add Eisner for his groundbreaking Spirit section work. Winsor McCay would be my favorite newspaper comic strip artist.

Great points, Cat-Man. 

Yes, I think any consideration for this honor must include an artist who regularly drew covers and interiors. AFAIK, Schomburg never drew interiors, so he would have to be excluded. 

I would exclude newspaper comic artists. Since most of Eisner's best work was done for newspapers, that probably excludes him. 

By "best overall" I was thinking of some one who drew covers and interiors as well as a variety of genres: adventure, humor, sci-fi, super-heroes. 

Personally, I thought Wood was great in humor, adventure, horror, sci-fi, war. But he arrived a bit late. His style only came into maturity in 1951.