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| So does anyone know more about the artist on "The Strangler", who is simply listed as "Carter"? I must say I love the style of the work. |
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| Yeah, that Strangler story art is something else, isn't it. That's Rudy Palais' work. The story is a reprint from Murder Incorporated #3 (it's available in its original colored form here on CB+ along with his other work), it was originally named Lady Killer. One does wonder why the brilliant American artists like Palais are virtually unknown compared to the overabundant, celebrated mediocrity of say, Bill Everett, CC Beck, Fred Ray, Ditko, Romita Jr or Alex Ross. Palais surely didn't co-create any (nor got to draw a lot) of those silly-looking guys who sport their underwear on the outside, that might be the answer... |
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| Rudy Palais Appreciation Thread
https:boards.cgccomics.com/topic/473487-rudy-palais-appreciation-thread/
Rudy Palais - Rudolph Palais - (1912 - July 2004, USA)
https:www.lambiek.net/artists/p/palais_rudy.htm
As you will see, Rudy retired from comics in 1969, right at the beginning of the Silver Age. most of the Artists you mention did their best work in the Silver Age. Also, Bill Everett, CC Beck,, Ditko, Romita Jr did create characters and write. Captain Marvel, Submariner, Blue Beetle to name a few. Fred Ray created Congo Bill.
But Palais is definitely revered by collectors as the 'Appreciation Thread' shows .
cheers! |
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| Yeah I know... Thanks for pointing me towards RP appreciation thread, I haven't seen a couple of those before, it's always a treat. But then that's just a handful of folks like us, readers and collectors who love the Golden Era stuff who know about him - the guy doesn't even have his wikipedia page for Pete's sake while so many lesser artists from the Golden and Silver era have. There's so little known of him apart from tiny snippets of information like the one from lambiek. One wonders for example, why did he stop drawing comics before even turning 60 and how would he do in the 1970s if he hadn't. Creating or co-creating a (super)hero made so many lesser artists widely known, that would surely help to secure his visibility for the future generations. I wonder how fast he was, whether the pace / meeting deadlines was a factor in him retiring from comics or was there something else like health issues involved. So many questions! Anyway, he's an inspiration and I'm grateful we have the comic books with his art on here to admire. Anybody: just paste 'Rudy Palais' into the search window above on the right, I especially love his his horror work - in Terrific, Horrific, Weird Terror, Tomb of Terror, Witches Tales... pure awesomeness! UPDATE: Just did a bit of extended search and found a fantastic in-depth interview with him, it's in Alter Ego #62 Oct 2006. It answered all my questions and more (a preview of that issue, unfortunately it cuts off in the middle https:twomorrows.com/media/AlterEgo62Preview.pdf). According to his own words RP was a fast worker, had no trouble meeting the deadlines, didn't care that much for the stories or where/for whom he was working at (as long as the people were alright and they paid in time), but enjoyed drawing comics (action, crime, horror being his favorite, anything with some drama in it, didn't enjoy the romance stories that much as they were lacking in that department) quite a lot compared to making movie posters. He jumped ship because the comics seemed to be fizzling out (we all know why) in mid-fifties. And after that he was at that ad agency working mostly with photos so I can imagine he was making significantly more money being an art director than he ever would sweating blood and ink over a page of a comic book. He seemed to take some pride when looking at his Golden Age era work in retrospect (it was better than he remembered it to be!), so that was nice to read. Apologies for the super long post! |
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