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Brother Man: The Art and Life of Lynd Ward

2013; Oxford University Press; Volume: 100; Issue: 3 Linguagem: Inglês

10.1093/jahist/jat511

1945-2314

Paul Buhle,

Cinema and Media Studies

Perhaps it is the boom in the uses (or misuses) of comic art at Comi-Con International, or perhaps it is the recognition of comics as a legitimate art form that has finally come of age. Whatever the reason, the woodcut art form that that flourished between the world wars has gained a fresh look. For the return of Lynd Ward (known for his series of wordless novels using wood engraving), thank also the influence of the cartoonist and editor Art Spiegelman, who prompted the Library of America to publish a sparkling two-volume edition of Ward's work in 2011. The iconic comics figure Will Eisner decades ago insisted that Ward had established the “precedent” for the modern graphic novel in the United States. There are other claimants, notably the comic-strip giant Milt Gross (She Done Him Wrong, 1930, about a lumberjack, is in part a sly satire upon the art...