Showing posts with label VLADIMIR RENČIN. Show all posts
Showing posts with label VLADIMIR RENČIN. Show all posts

Saturday, February 22, 2014

Great Cartoons of the World VII, part 8

These are more excerpts from the seventh annual volume of Great Cartoons of the World from 1973.

The first cartoon by William Steig was in the New Yorker.

In the foreword, editor John Bailey describes what the contributors look like (previous examples can be seen in previous installments):

Steig is a true intellectual in the physical form of a dockworker. He is mainly surprising—he looks tough, but he is gentle and civilized. He never speaks without expressing his sense of humor, most often with some detectable ironic twist. Nothing about the artist's following of the artist being an avid follower of orgone therapy. On the other hand, there are and were several cartoonists that believed in all sorts of medical, religious, and political quackery but it usually doesn't spill into their work.
Vahan Shirvanian, also in the New Yorker.
Mischa Richter
Bruce Petty
Vladimir Renčin in Dikobraz
James Stevenson
Charles Elmer Martin
Edward Koren
Hans Moser
Whitney Darrow, Jr.
The final two were drawn by John Glashan.

Saturday, November 16, 2013

GREAT CARTOONS OF THE WORLD Series 6, part 6

I'm continuing to post excerpts from the 1972 book Great Cartoons of the World, Series Six.

This one's by William Steig, from The New Yorker. Of which is said in the introduction:

Steig's “Come to bed” is a great cartoon that transcends the frame of bossy wife and weak fish who needs to be bossed. It reaches into history, and, in so doing, reveals a bit of everyone's childhood.
Jules Stauber
Chon Day in the Saturday Evening Post.
Ton Smits
These two are by Tony Munzlinger
Anatol Kovarsky
Stanislav Holý for Dikobraz
William O'Brian in The New Yorker
Jean-Jacques Sempé in Editions Denoël
Vladimir Renčin, again for Dikobraz
Stanislav Holý
Norman Thelwell in Punch, again written about in the foreword:

Thelwell's [cartoon] depicts a moppet with a tilted blood in his veins, wearing a cowboy suit. The outrageous juxtaposition of the small boy with the great hall brings together the timelessness and the timely by reducing the glorious figure of the duke to the level of any kid in Hoboken.

Saturday, September 21, 2013

Great Cartoons of the World Volume IV, part 9

More from Great Cartoons of the World, Volume 4 from 1970, edited by John Bailey.

Vladimir Renčin  photo 9-14-1_zpsb7c0a93e.jpg Boris Drucker  photo 9-14-2_zps6f099c79.jpg These two pages by Jean-Jacques Sempé  photo 9-14-3_zps39d28bd4.jpg  photo 9-14-4_zps8d90da16.jpg Anatol Kovarsky  photo 9-14-5_zps852a9dd7.jpg Miroslav Barták  photo 9-14-6_zps0aa7488f.jpg Anatol Kovarsky again  photo 9-14-7_zps9d8857ff.jpg Three variations of the “beggar with hat” gag by Cesc  photo 9-14-8_zps97b6b8c9.jpg  photo 9-14-9_zpsa7ccb80d.jpg  photo 9-14-10_zps4a19162a.jpg Let's see you try to scan something going across two pages like in this The New Yorker gag by Robert Day  photo 9-14-11_zps114179bd.jpg Henry Syverson  photo 9-14-12_zps7c459c67.jpg There seem to be more beggars with hats in Europe, if the three cartoons above and this one by Miroslav Barták are any indication.  photo 9-14-13_zpsa94a742b.jpg