The Last Baroque
This chapter explores the work of Winsor McCay. Since its discovery in the 1960s, McCay's Little Nemo in Slumberland (1905) has been treated like an artistic miracle that could only have been conceived by an incomparable genius. The series presented a calculated and perceptive response to the popular production of the time. What makes the series so special in the whole tradition of comic art is, above all, its ambition to put beauty (in the Hogarthian sense) on center stage.
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