- Title Pages
- Acknowledgments
- Foreword
- Introduction
- Foundations: Comic Art in Museums
- Comic Art in Museums: An Overview
- Substance and Shadow: The Art of the Cartoon
- Permanent Ink: Comic Book and Comic Strip Art as Aesthetic Object
- Pioneers: Comic Art Exhibitions, 1930–1967
- The Evolution of Comics Art Exhibitions in the United States, 1930–1951
- Narrative Illustration: The Story of the Comics
- The First International: I Exposicao Internacional de Historias em Quadrinhos
- Comics and Figurative Narration: What Pierre Couperie Contributed
- The Renewed Focus On Comics As Art After 1970
- The Comic Stripped and Ash Canned: A Review Essay
- Exhibitions at the Museum of Cartoon Art: A Personal Recollection
- Mort Walker, Historian
- Review/Art: Cartoon Masters—Cartoonists Finally Get Some Respect
- Comics, Community, and the ToonSeum: An Interview with Joe Wos
- Expanding Views of Comic Art: Topics and Display
- Northern Ink: Misfit Lit in Minneapolis
- Our Heroes: African American Artists and Images in the American Comic Book
- Deviating from “Art”: Japanese Manga Exhibitions, 1990–2015
- The Glimmering Glow of Comic Art amidst the Blinding Glitter of the United Arab Emirates
- Hypercomics: The Shape of Comics to Come
- Sequential Titillation: Comics Stripped at the Museum of Sex, New York
- Masters of High and Low: Exhibitions in Dialogue
- Comic Connoisseurs
- Comics as Art Criticism: The Cartoons of Jonah Kinigstein
- High Way Robbery
- “High Art Lowdown”: This Review Is Not Sponsored by AT&T
- How Low Can You Go?
- Cracking the Comics Canon
- An Uneasy Accord: LA Museums Open Their Walls to Comics as True Works of Art
- Here Are the Great Women Comic Artists of the United States
- Remasters of American Comics: Sequential Art as New Media in the Transformative Museum Context
- Personal Statements: Exhibitions about Individual Artists
- After Masters: Interview with Gary Panter
- Splashing Ink on Museum Walls: How Comic Art Is Conquering Galleries, Museums, and Public Spaces
- In Our Own Image, After Our Likeness
- Showing Pages and Progress: Interview with Carol Tyler
- Curating Comics Canons: Daniel Clowes and Art Spiegelman’s Private Museums
- Co-Mix and Exhibitions: Interview with Art Spiegelman
- Introduction to Comic Book Apocalypse: The Graphic World of Jack Kirby
- Jack Kirby at Cal State Northridge
- Genius in a Box
- Thirty Museums with Regular Comics Programming
- Contributors
- Index
Narrative Illustration: The Story of the Comics
Narrative Illustration: The Story of the Comics
- Chapter:
- (p.88) Narrative Illustration: The Story of the Comics
- Source:
- Comic Art in Museums
- Author(s):
M. C. Gaines
- Publisher:
- University Press of Mississippi
This chapter contains a 1942 article written by publisher M.C. Gaines about the exhibit The Comic Strip: Its Ancient and Honorable Lineage and Present Significance, organized for the American Institute of Graphic Arts (AIGA) by Jessie Gillespie Willing, which first opened at the National Arts Club, NY. It was the first known touring exhibit to show comics in art historical context with ancestors like Japanese scrolls, Mayan Panels, and cave paintings alongside contemporary comic strips and comic books. This may have been the first exhibit to include a wide selection of comic books including More Fun, Superman, and Wonder Woman #1. Gaines opines on the educational importance of comics in reply to the decency movements that were attempting to censor comics in this era. Images: Caniff exhibit 1946, Fred Cooper cartoon 1942.
Keywords: American Institute of Graphic Arts, National Arts Club, Wonder Woman, Comic books, Touring exhibit
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- Title Pages
- Acknowledgments
- Foreword
- Introduction
- Foundations: Comic Art in Museums
- Comic Art in Museums: An Overview
- Substance and Shadow: The Art of the Cartoon
- Permanent Ink: Comic Book and Comic Strip Art as Aesthetic Object
- Pioneers: Comic Art Exhibitions, 1930–1967
- The Evolution of Comics Art Exhibitions in the United States, 1930–1951
- Narrative Illustration: The Story of the Comics
- The First International: I Exposicao Internacional de Historias em Quadrinhos
- Comics and Figurative Narration: What Pierre Couperie Contributed
- The Renewed Focus On Comics As Art After 1970
- The Comic Stripped and Ash Canned: A Review Essay
- Exhibitions at the Museum of Cartoon Art: A Personal Recollection
- Mort Walker, Historian
- Review/Art: Cartoon Masters—Cartoonists Finally Get Some Respect
- Comics, Community, and the ToonSeum: An Interview with Joe Wos
- Expanding Views of Comic Art: Topics and Display
- Northern Ink: Misfit Lit in Minneapolis
- Our Heroes: African American Artists and Images in the American Comic Book
- Deviating from “Art”: Japanese Manga Exhibitions, 1990–2015
- The Glimmering Glow of Comic Art amidst the Blinding Glitter of the United Arab Emirates
- Hypercomics: The Shape of Comics to Come
- Sequential Titillation: Comics Stripped at the Museum of Sex, New York
- Masters of High and Low: Exhibitions in Dialogue
- Comic Connoisseurs
- Comics as Art Criticism: The Cartoons of Jonah Kinigstein
- High Way Robbery
- “High Art Lowdown”: This Review Is Not Sponsored by AT&T
- How Low Can You Go?
- Cracking the Comics Canon
- An Uneasy Accord: LA Museums Open Their Walls to Comics as True Works of Art
- Here Are the Great Women Comic Artists of the United States
- Remasters of American Comics: Sequential Art as New Media in the Transformative Museum Context
- Personal Statements: Exhibitions about Individual Artists
- After Masters: Interview with Gary Panter
- Splashing Ink on Museum Walls: How Comic Art Is Conquering Galleries, Museums, and Public Spaces
- In Our Own Image, After Our Likeness
- Showing Pages and Progress: Interview with Carol Tyler
- Curating Comics Canons: Daniel Clowes and Art Spiegelman’s Private Museums
- Co-Mix and Exhibitions: Interview with Art Spiegelman
- Introduction to Comic Book Apocalypse: The Graphic World of Jack Kirby
- Jack Kirby at Cal State Northridge
- Genius in a Box
- Thirty Museums with Regular Comics Programming
- Contributors
- Index
