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Steve Ditko’s astounding career is presented here from the early 1950s to the present. Examples of his work for Charlton, Warren, Marvel and DC are shown, both as printed pages and scans from Ditko’s beautiful original art!
This is a Museum catalogue that will accompany a massive exhibition of this hugely influential artist's work (Ditko co-created Spider-Man and Dr. Strange) in Palma de Mallorca Spain in the Fall of 2016. By the same Eisner Award-nominated team who have created the gold-standard for museum catalogues and exhibits of classic comic artists, previous books in the series include: Woodwork: Wallace Wood 1927-1981, Flesh & Steel: The Art of Russ Heath, and Big John Buscema: Comics & Drawings.
- Sales Rank: #154298 in Books
- Published on: 2016-12-20
- Original language: English
- Dimensions: 12.70" h x 1.30" w x 9.80" l, .0 pounds
- Binding: Hardcover
- 368 pages
Most helpful customer reviews
12 of 12 people found the following review helpful.
Essential.
By Coloratura
This book is without question the most attractively designed, objectively written, and encompassing book published to date on the work of Steve Ditko. A fair amount of the text quotes Ditko in his own words, from early published interviews and more recent essays. To page through the book, front to back, is in itself a great pleasure, but the text - which, incidentally, is bilingual (English and Spanish) - is clear and comprehensive, a feast of information. The illustrations include quite a few examples of Ditko's original comic art boards, including some of the key pages from Ditko's tenure on THE AMAZING SPIDER-MAN (his origin story, and the legendary story of his entrapment under heavy fallen machinery). Importantly, this is the first book on Ditko to really come to grips with his most recent work for publisher Robin Snyder. A must-have for anyone interested in the subject of the most original comics artist of our time.
11 of 11 people found the following review helpful.
Handsome chronicle of one of comics' great individualists
By David J. Hogan
Enormous, very well-produced hardcover catalog written by Florentino Florez to complement a 2016-17 Spanish exhibition of Steve Ditko art. The entirety of the artist's career is represented by color reproductions of printed work and page after page of lovely original art. The color art is sometimes pleasingly sized, other times quite small. The original art, though, is typically full page, and it is glorious. As another reviewer has noted, the prose is sometimes awkward and vague--a result, perhaps, of a sketchy translation or, alternatively, that English is Florez's second language. Whichever the case, the text is detailed almost issue by issue, down to the individual panel level, and thoughtfully covers more than sixty years of output.The book's final section, looking at Ditko's increasingly personal and idiosyncratic output from the late 1970s onward, is at once fascinating and tedious. Ditko's longtime commitment to Randian individualism is laudable or just eccentric, depending on your point of view. To me, his black-and-white view of personal responsibility and justice is superficial; in much of this later work, Ditko sets up straw men so that he can noisily knock them down, and that's too easy. Life's enormous complexities seem to elude him. Florez struggles to give praise to Mr. A, Static, Ditko Presents, and other latter-day projects that are energetic but visually undisciplined (Ditko really needs to stop ding his own lettering, for it is awful), and hectoring rather than instructive. But my opinion about his beliefs doesn't matter to Ditko; nor should it. He remains true to himself, producing lively pages as he approaches his ninetieth birthday. When you acknowledge Ditko, you acknowledge ALL of his work. In the history of comics, he looms large.
9 of 10 people found the following review helpful.
An amazing exhibition catalog, slightly marred by flawed text
By Joseph Pedoto
OK, it goes without saying that any fan of Steve Ditko’s work should own this book for the amazing amount of original art pages it contains alone. And it is thrilling to see the entire career of this important commercial and popular artist captured between hard covers. What an amazing exhibition this must’ve been to see in person!
Sometimes though, the color reproductions of panels and pages are so small that it’s hard to understand what you’re supposed to appreciate here.
For examples, the art on pages 130 and 252 is barely larger than a postage stamp! I would’ve cut the copy by Florentino Fl�rez to allow for larger reproductions in many instances. (I don’t think there’s any new ground broken here for the Ditko scholars among us).
Indeed, overall the text is a bit of an issue. It contains insipid sentences like “The mind-blowing trips that Ditko or Kirby’s colorful pages took you on would always be far better than attempts to get high by re-reading Hegel.”
Yeah, we all remember back in the 1960s when John Lennon said getting high re-reading Hegel was better than pot or acid.
Where, oh where was editor Fr�d�ric Manzano when this copy was being proofed? Writer Fl�rez also seems to think that beatniks and hippies are the same thing. Or perhaps this is a problem with the translation by Rachel Waters?
So, a must-have for the art work and congratulations to the team who put this exhibition together. Unfortunately, the text does not equal the care or quality that the rest of this skilled production deserves. (But don’t let that stop you from purchasing this book).
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