Chris Achilleos · Connections · Frank Frazetta

Connections: Frank Frazetta and Chris Achilleos

What interests me about these juxtapositions is not merely Achilleos’s obvious debt to Frazetta but that each of the artists revised his original composition after first publication. Whether the compositions are better or worse now, you can decide for yourself. In both instances, however, the changes were probably driven by what I like to call “the tyranny of second thoughts.” That is, once one gets it into one’s head that improvements are possible, it is damned difficult to resist sacrificing what one has for the promise of something better.

Book/Magazine Covers (All) · Connections · Frank Frazetta · Illustration Art

Connections: Frazetta and Maren

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Dig the fancy bladework of the attacker in Maren’s painting!


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Keywords: The Black Star by Lin Carter, Frank Frazetta, Conan, Maren, Mariano Pérez Clemente.

Book/Magazine Covers (All) · Frank Frazetta · Illustration Art · Look Here

Look Here: LOST ON VENUS and two others with cover art by Frazetta

More cover scans today, all of paperbacks in my personal library:

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Keywords: Lost on Venus, Beyond the Farthest Star, The Outlaw of Torn by Edgar Rice Burroughs; Frank Frazetta.

Book/Magazine Covers (All) · Frank Frazetta · Illustration Art · Look Here

Look Here: DARK CRUSADE and five others with cover art by Frazetta

My books. My scans. You’re welcome.

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Keywords: Conan the Warrior by Robert E. Howard, edited by L. Sprague de Camp; Into the Aether by Richard A. Lupoff; Bloodstone by Karl Edward Wagner; The Moon Men by Edgar Rice Burroughs; Dark Crusade by Karl Edward Wagner; Kane; The Silver Warriors by Michael Moorcock.

Fine Art · Frank Frazetta · Illustration Art · Look Here · N. C. Wyeth

Connections: Wyeth, Fischl, Frazetta

I’m not going to put forth any arguments here regarding a possible chain of influence from Wyeth to Fischl to Frazetta (because I don’t think there is one), the relative quality of the three paintings pictured below (because none of them is truly first rate), the relative merits of “fine art” versus “illustration art” (because I don’t care about the issue), etc. I just have a hankering to see these three paintings mashed together in one post:

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Fine Art · Frank Frazetta · Illustration Art · Look Here · Norman Lindsay

Connections: Norman Lindsay and Frank Frazetta

I’ve never thought much of Frazetta’s line-and-watercolour painting, Tarzan Meets La of Opar, which, rumour has it, originally featured Tarzan naked with an erect penis. (According to a Frazetta friend who claims to have witnessed the event, the artist edited the painting before he sold it to an insistent collector.) Although Frazetta’s “true fans” have a tendency to turn cartwheels of joy over every jot of ink and tittle of paint that flowed from their hero’s pens and brushes, the colour scheme, the physical types, the awkward body language of La (with one arm, one hand, and both feet completely hidden from view!), the composition, none of it here is prime Frazetta in my humble opinion.

I think the picture begins to make more sense, however, if one sees it as Frazetta’s attempt to absorb the influence of the amazingly prolific Australian cartoonist, illustrator, painter, sculptor, etc., etc., Norman Lindsay. The connection here, if there is one, would have been made possible by Frazetta’s friend, mentor, and educator in art history, Roy Krenkel, who was himself a true fan of Lindsay and so almost certainly would have brought the man’s art to Frazetta’s attention.

Anyway, so you might look and decide for yourself what’s what, here’s Frazetta’s modest effort sandwiched between two of Lindsay’s epic watercolours:

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I suppose some people will think I’ve gone pretty far out on a limb here. But I don’t think I have. Many commentators over the years have parroted that line that, of course, Norman Lindsay influenced Roy Krenkel and Frank Frazetta. Only trouble is, few if any have ever seen fit to get down to cases and count the ways. Why be so timid? Half the fun of looking at pictures involves learning from others, and attempting to suss out for oneself, the various pathways of influence, both obvious and devious, from one artist to another, from one art form to another.