Crumb’s Visual Sources: Research Note 2
by Jeet Heer
Wednesday, February 10, 2010
Here are a few notes that might help future research:
1. Wolverton. Crumb has often talked about his debt to Basil Wolverton, going back to the sacred cover of Mad comics #11. Interestingly, Wolverton and Crumb both adapted the Bible. I’d like to know how familiar Crumb was with Wolverton’s religious art (now available in the great Fantagraphics book The Wolverton Bible).
Above is a scene from Wolverton’s rendition of the Noah story.
And here is a panel from Crumb’s The Book of Genesis Illustrated. Notice that in both Wolverton and Crumb, the choppy waves have an oddly static look, as if they were sand dunes rather than water.
2. Billy DeBeck. I’ve never heard Crumb talk about Billy DeBeck but Crumb’s big-nosed style, especially in the late 1960s and early 1970s, had a strong touch of DeBeck’s bounciness.
Above are two excerpts from Billy DeBeck’s work, one showing the character Bunky (the very eloquent baby) and the other Lowzie, the bonnet-wearing hillbilly.
And here is Crumb’s Big Baby (from Big Ass #1, 1969).
3. E.C. Segar. The creator of Popeye is much loved by Crumb.
Here is a panel from a Segar Thimble Theatre page (July 19, 1931). Pay close attention to the crowd, a jumble of noses.
And here is Crumb’s cover for Weirdo #14, where he pays homage to Segar’s crowd of fools.
Labels: Basil Wolverton, Billy DeBeck, E.C. Segar, Heer notebook, R. Crumb
Nice post Jeet. But I was waiting for the inevitable conarison to Will Elder; especially with his Books of Genesis. I had to slap myself a couple of times, the resemblance was so pronounced.
Don't forget Gene Ahern. His Squirrel Cage comic featured a character on whom Mr. Natural is visually based. (See http://en.wikipedia.org/wiki/File:Squirrelcage45.jpg)
I would not dispute these, but I would add Crumb's stated influences of Walt Kelly and the Fleischer studio, possibly a stronger influence than Segar.
I see the Kelly influence in Fritz and in The Bearzie Wearzies, and to me Eggs Ackly is a demented remake of Bimbo's Initiation.
Reginald Marsh and late Philip Guston come to mind. Marsh more so than Guston, as acknowledged by Crumb. Guston in a few specific instances, I believe. The wonderful observations Marsh made of street and city life (his Coney Island images certainly among the most notable) seem to have influenced the observational qualities of Crumb's own work.
The first name which comes to mind is Harvey Kurtzman. Crumb's 20's style pen technique doesn't resemble Kurtzman, but Crumb could well be seen as another artist working from Kurtzman's layouts.
Pat Ford
For pace and body language, I can't help but think that Frank King was a big influence, but to my knowledge Crumb's never acknowledged him.
(another anonymous)