MATT MARRIOTT - ORIGINAL ART DAILY #20 - TONY WEARE ART
V FOR VENDETTA artist
MATT MARRIOTT - ORIGINAL ART DAILY #32--TONY WEARE ART. This long standing British comic, quite probably the best western strip ever created, is a true classic.....Unlike it's tame 10-gallon hat, "awww, shucks ma'am" American cousins, the Matt Marriott tales were brutal and realistic. The stories were creative, compelling, cut close to the bone and served as a perfect backdrop for Weare's art. ...........Original Tony Weare art for Matt Marriott is some of the most difficult art to find in comics. Well, I'm offering some here..................... This strong daily is from the early portion of the story"Marshal of Ochre Flat", a tale of a town harassed by a gang of roving bandits led by outlaw Johnny Bishop. Matt Marriott has just become the new Marshal of the town with Powder Horn as his deputy--Matt is busy checking the available weaponry as Powder muses on the wisodm of becoming the new marshal. This artwork features Matt and Powder in every panel and is an extremely nice daily. I was quite tempted to keep this one.................................................................For those of you unfamiliar with either the strip or Weare's art, here's what David Lloyd wrote: "The late Tony Weare drew Matt Marriott in the London Evening News from 1957 to1977. Written by Jim Edgar, it was the finest and most atmospheric newspaper strip about the American Wild West that has ever been produced. Tony, as one of just a very few strip artists here and in the US whose creative identities owed nothing to the heritage of stylization which influenced many other newspaper adventure strip creators - he was primarily an illustrator who just happened to love drawing strips. His style on Marriott was that of a sketch artist - a portrayer of the instant. It was naturalistic, raw, and unsophisticated - perfect for depicting the primitive quality of a realistic-looking Wild West. One of his major strengths as a strip artist lay in his consistently creative compositions. If we look through the three-frame strips that make up the Matt Marriott stories we see no evidence of the repeated formulas of picture design which some strip artists use. Because of the sheer weight of material most of these craftsmen have to produce , easy options in picture composition are often sought by them and repeated to ease the burden of emitting a constant stream of new layouts ; but when we look at Tony's work it's as if we're just watching people going about their business through a lens that he has cleverly positioned for us, not viewing figures which are overtly posed for appropriate effect. The way he rendered his drawings reflected this 'realistic' approach to portraying the action, with almost lazily handled brush work and pen cross-hatching. He also had a superb command of light and shade, which promoted the impression that he was drawing something he could see in front of him, rather than something he'd built up from his imagination.The only things Tony ever hated drawing were mechanical objects of any kind, though this antipathy is very difficult for any viewer to detect. As a lifelong nature lover he preferred to draw the organic. This passion for depicting living things above all else, is what gives Tony's work the energy which shines from almost everything he put his brush to. Like all the best artists, he sought to draw only what he loved to draw."
...................Lloyd put his money where his mouth was, coaxing Weare out of retirement to work on V for Vendetta. The Weare art for Matt Marriott is powerful and brusque, his brush describing fully formed, complicated images in quick, direct brush strokes
There is white out in the word balloons and some in the art and there are tiny impact dents in the left corners (see scans). Otherwise, both the art and the board are in excellent condition..........................
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