Order By Mail or Fax Turning the comics world "Upside-Down" This new compilation from Sunday Press features a complete run of the "Upside Downs" , digitally restored and presented in their original size 11 x 16 inches and colors. A collection of 25 paintings and drawings from books illustrated by Verbeek fills out this large hard-bound volume. Included in the book ia a set of 12 Tiny Tads postcards, facsimilies of a series created by Verbeek as a promotional tool for retail stores around the U. But not until I set out to do this book did I discover the incredible variety offered to the world of comics and illustration by Gustave Verbeek. To be able to create one of these fascinating stories is amazing enough, but to do it every week for nearly 18 months is mind-boggling.
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Order By Mail or Fax Turning the comics world "Upside-Down" This new compilation from Sunday Press features a complete run of the "Upside Downs" , digitally restored and presented in their original size 11 x 16 inches and colors.
A collection of 25 paintings and drawings from books illustrated by Verbeek fills out this large hard-bound volume. Included in the book ia a set of 12 Tiny Tads postcards, facsimilies of a series created by Verbeek as a promotional tool for retail stores around the U. But not until I set out to do this book did I discover the incredible variety offered to the world of comics and illustration by Gustave Verbeek.
To be able to create one of these fascinating stories is amazing enough, but to do it every week for nearly 18 months is mind-boggling. But these were not his first such comics.
Early work by Dr. The final Upside-Downs page expresses a true antiwar statement with Russian-looking soldiers fighting a colony of dwarves, this at the height of the brutal Russo-Japanese War in the winter of As with our other Sunday Press volumes, these pages have been restored and printed to approximate the look of their appearance in the Sunday newspapers over years ago.
The ravages of time on old newsprint, such as stains, excessive yellowing, and tears, have been repaired. Many of the natural flaws, such a bleed-through, off-register colors, ink smudges, and paper irregularities, remain. So step back into another time, find a large area for turning the book upside-down time and again, and enjoy the unique and fascinating world of Gustave Verbeek.
In the nineteenth century, political cartoonists were fond of drawing pictures of despised politicians who turned into pigs or jackasses when upside down. Life, in the September 18, issue, reproduced an Italian poster on which the face of Garibaldi became Stalin upside down! The back of the November 23, issue was an ad that showed an Indian Brave inspecting corn. We come now to the Dutch cartoonist Gustave Verbeek, who carried upside down art to unbelievable heights.
The strip consisted of six panels that illustrated a story line. Inverted, the same six panels were different pictures that continued the story! How Verbeek managed this without going mad beats me!
His big secret, of course, was that Old Man Mufaroo and Lady Lovekins turned into the other upside down! Now for the first time we have all 64, in their original color and size. From the Introduction by Jeet Heer Gustave Verbeek was man of three continents, fusing the traditions of Asia, Europe, and North America in his remarkable career as a cartoonist, painter, and illustrator. His artistic internationalism came with his birthright: he entered the world in in Nagasaki, Japan, the son of Guido Verbeck, a Dutch missionary who played a leading role in bringing Western higher education to the land of the rising sun.
After returning to the United States around , Verbeek made a name for himself as a magazine artist, with his work adorning well-known humor journals such as Puck and Life. When the newspaper comics supplement started to take off at the end of the 19th century, these humor magazines provided a ready-made farm team for the new art form.
Along with peers like Frederick Opper and Richard Outcault, Verbeek made the leap from the magazine stand to newsprint. Each episode consists of six panels, which can first be read in the traditional manner from left to right in two tiers.
But after reading, you can turn the comic strip page upside-down and continue reading the adventure of the characters for another six panels. In effect, Verbeek superimposed two narratives on the same page. The persistent theme of The Upside-Downs is transience and instability.
Verbeek was the great cartoonist of camouflage and disguise. Verbeek retired Mufaroo and Lovekins after a year, and no doubt they continue happily to spin in their graves at the Comic Strip Cemetery.
Inevitably, Verbeek added ingredients beyond whimsy. Almost alone, strangely, The Tiny Tads inhabited a friendly-looking paradise. Week after week the sources of "terror" are new creations - animals that Noah might have thrown off the ark, or that Dr. Seuss might have imagined only when stricken with heartburn.
Creatures that, if not menacing, were And, in the inevitable Verbeckian mode, dangerous or frightening was not enough. The cartoonist set himself the challenge of creating compound anthropomorphs: two species combined, but more often, animals mutated with inanimate objects - suitcases, trolley cars, hotel buildings, and the like. Here we find the Hippopautomobile and the Umbrellaphant, a Sweet Potatoad, a Hotelephant a quadrupedifice, you see , a Dandelioness, the Kangarooster, Pantaloonatics, an Aeronaughty Boy, Canniballoons, the Buffalocomotive, a Flamingorilla, the Crocodisland, a Flaminghost, the Cariboogaboo, an Uncannymal creature, the Vampirate, a Guitarcher, the Pelicantelope, and the Boa Constrictortoise.
And, again, today, gloriously reprinted, as uncommon as ever. While taking advantage of a recurring fad for reader-contributed limericks, the strip also looked back to Edward Lear, whose Book of Nonsense had marked the beginning of Victorian Nonsense and popularized the limerick. In The Loony Lyrics of Lulu, Verbeek took the single-panel association of limerick and animal and again placed it within a narrative frame: Lulu composes a limerick while her father unsuccessfully tries to capture the beast described in it - the limerick, traditionally relegated to the captions, is moved into the balloons, which the artist brings back for the occasion.
By the Tads themselves had evolved and their rounded, newly-cute figures had nothing in common with the wiry teenagers of the early episodes; they had even almost completely given up hunting.
Times were changing and the disturbing experiments of Nonsense were no longer welcome in the comics: time for adventurous cartoonists to move on. Errors and Omissions During one of our edits we accidentally omitted the name of a valuable contributor: Michel Dixmier.
We sincerelly apologize for this error. While the Tads did appear on the back of the first Little Nemo Sunday on October 15, , the first Tiny Tads page was, as seen in this book, May 28, Tiny Tads postcards were distributed from to , not to as stated in the caption for these cards.
The Upside Down World of Gustave Verbeek