Artists: Tony WEARE (Penciller) , Tony WEARE (Inker) , Jim EDGAR (Writer)
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Artwork Details
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DescriptionTony Weare (1912-1994). Tira diaria nº 97, perteneciente a la parte final del episodio titulado Marshal of Ochre Flat, que se publicó en 1969(*). Tinta china aplicada con pincel sobre cartulina de dibujo. Toques de gouache blanco con finalidad correctora. Dimensiones: 46 x 16 cm.La tira de Matt Marriott apareció publicada en el diario británico The Evening News entre los años 1955 y 1977. Estamos ante uno de los mejores western tebeísticos de la historia, caracterizado por la solidez de sus guiones (que firmaba Jim Edgar) y por un tratamiento del tema realista, brutal y bien alejado de otras interpretaciones más convencionales, amables e idealizadas que también se habían publicado en la prensa (pienso, por ejemplo, en el caso de Cisco Kid).. El estupendo guión, el soberbio dibujo de Weare, que fue evolucionando de un naturalismo bastante convencional a un estilo expresionista en el que resultaban fundamentales los claroscuros y el tramado, la magnífica puesta en escena y la impresionante galería de personajes secundarios justifican plenamente esta valoración tan optimista y positiva de este clásico de los cómics de prensa, hoy en día bastante olvidado, por desgracia. En palabras del dibujante británico David Lloyd, grandísimo admirador de Weare —al que convenció para hacer una pequeña participación en V de Vendetta—, Matt Marriott «it was the finest and most atmospheric newspaper strip about the American Wild West that has ever been produced. Tony, as one of just a very few strip artists here and in the US whose creative identities owed nothing to the heritage of stylization which influenced many other newspaper adventure strip creators - he was primarily an illustrator who just happened to love drawing strips. His style on Marriott was that of a sketch artist - a portrayer of the instant. It was naturalistic, raw, and unsophisticated - perfect for depicting the primitive quality of a realistic-looking Wild West. One of his major strengths as a strip artist lay in his consistently creative compositions. If we look through the three-frame strips that make up the Matt Marriott stories we see no evidence of the repeated formulas of picture design which some strip artists use. Because of the sheer weight of material most of these craftsmen have to produce , easy options in picture composition are often sought by them and repeated to ease the burden of emitting a constant stream of new layouts ; but when we look at Tony's work it's as if we're just watching people going about their business through a lens that he has cleverly positioned for us, not viewing figures which are overtly posed for appropriate effect. The way he rendered his drawings reflected this 'realistic' approach to portraying the action, with almost lazily handled brush work and pen cross-hatching. He also had a superb command of light and shade, which promoted the impression that he was drawing something he could see in front of him, rather than something he'd built up from his imagination.The only things Tony ever hated drawing were mechanical objects of any kind, though this antipathy is very difficult for any viewer to detect. As a lifelong nature lover he preferred to draw the organic. This passion for depicting living things above all else, is what gives Tony's work the energy which shines from almost everything he put his brush to. Like all the best artists, he sought to draw only what he loved to draw». Para ampliar información sobre Matt Marriott, puede leerse el siguiente artículo. (*) Agradezco a Manuel Caldas la aportación de este dato concreto, que yo desconocía. Social/Sharing |
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