It was as an adolescent that I was first exposed to the work of fantasy and sci-fi illustrator Frank Frazetta. In his heyday, he was in a class all his own. His paintings could be found on magazines, paperback novels, album covers, and so many other mediums. He began in the 40s and 50s inking for various comic strips and comic books, though a lot of his early work was uncredited, as he was often filling in for the main artist. From the 60s through the 80s, his cover art was so pervasive that, even if you don’t recognize the name, you’ve probably come across his work somewhere. Any fan of the fantasy characters Conan the Barbarian or Tarzan have seen dozens of examples. Early Warren magazines Creepy, Eerie, Vampirella, and Blazing Combat featured Frazetta as well.
In those days, most commissioned art involved a “once and done” illustration. He was one of the first artists who licensed his work for a specific use but retained the rights to use it again for another project. Work smarter, not harder, right?
One of his most easily recognized paintings – “The Barbarian.”
Note the Rubenesque female character at his feet. Many of the women he depicted were curvy and full figured. Also, he tended to leave the background slightly out of focus, but on close examination, it contains subtle thematic images hidden in the blurred periphery.
In college in the mid 80s, I took a drawing class. During a discussion with the professor, we were talking about various artistic style, and I mentioned Frazetta. He quickly (and rather vehemently, I might add) dismissed his work as “throw away,” “crap,” and lacking the qualities of “fine art.” While I agree that most of his work was commissioned for magazines and book covers, it also features very complex use of color and composition that a lot of similarly commissioned illustrations lack. I believe the professor’s comments spoke more to elitist snobbery, and less what constitutes fine art. During a different conversation, he showed a sculpture he had made. He boasted that he created the particular color pattern on the bronze cast by urinating on the metal while it was still warm. Using that comparison, Frazetta was not nearly as avant guard, though I don’t see it as in any way less sophisticated.
I think the most accurate comparison to Frazetta is Norman Rockwell.
Although his subject matter is entirely different, Rockwell’s work was also commissioned for commercial use. Like Frazetta, Rockwell is sometimes dismissed as “just an illustrator.” Had he sold his work to an individual instead of a publication, it would be “high art.” As time has passed, their contributions have found a greater appreciation in the “real art” community.
The Motion Picture Academy Awards don’t only go to the small art house projects. Popular blockbusters also get recognized for quality. Sometimes, the art made for the consumption of the masses is excellent, too.
-Toph