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George Barr’s Christmas Card Fantasies

George Barr’s Christmas Card Fantasies

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Some of the art included in Joy To The World: The Fantasy Christmas Card Art of George Barr, from American Fantasy Press

This is the complete Introduction to Joy To The World: The Fantasy Christmas Card Art of George Barr, a new volume of previously uncollected Barr artwork. Join the Kickstarter here.

Several years ago, my wife Deb and I took a cross-country drive to the West Coast (or at least as cross-country as you can get by starting in the Chicago suburbs). While in Oregon, we stopped by to visit some friends of ours, Dick and Bette Wald. At that point, Dick had been a prominent collector, as well as a dealer, of science fiction and fantasy books and original art for decades. Among the many artists we discussed with Dick and Bette was one that was a favorite of all of ours, George Barr.

Several Barr originals hung on their walls and I saw there for the first time many of the works that are reproduced in this book. By the mid-1970’s, Dick had been a fan of George’s art for many years, going back to George’s work on various fanzines in the early 1960’s.

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George Barr: A Fantasy Master

George Barr: A Fantasy Master

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Barr illo for the D&D Module IM2: The Wrath of Olympus, by Robert J Blake (TSR, 1987)

When DAW Books launched in early 1972, one of their hallmarks was great cover art. Right from the start, their books featured covers by many of the top SF artists such as Frank Kelly Freas, John Schoenherr, Josh Kirby and Jack Gaughan – and eventually, Michael Whelan, who broke into the field with his cover for DAW’s edition of The Enchantress of World’s End by Lin Carter in 1975.

One of their mainstays was George Barr, whose first DAW cover came in their second month of publication, with The Day Star by Mark S. Geston. For my money, Barr was one of the great fantasy and science fiction artists of the past few decades. Having been introduced to science fiction paperbacks in the mid-1970’s, I have many fond memories of finding his artwork gracing many of the DAW books that I picked up at that time.

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Heroes and Humanity: Jack Kirby at the Skirball Center

Heroes and Humanity: Jack Kirby at the Skirball Center

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Last Friday, as an early Father’s Day gift, my wife arranged for us to spend the afternoon at the Skirball Cultural Center in Los Angeles, which is hosting a wonderful new exhibition dedicated to the memory and achievement of a great American artist. Titled Jack Kirby: Heroes and Humanity and running until March 1, 2026, the show is a must-see for any admirer of the King of Comics.

Jack Kirby is arguably the most influential person in the history of mainstream American comic books; his work, more than that of any other artist or writer, defined the visual grammar of the superhero. Along with his partner Joe Simon, he created Captain America in the 1940’s, soldiered through the postwar superhero slump of the 1950’s doing work in all genres — science fiction, war, horror, western, and romance (it’s an often forgotten fact that Simon and two-fisted Jack Kirby created the romance comic book) until, in the 1960’s, when DC showed that there was a reawakening market for costumed heroes, he teamed up with Stan Lee to create the “Marvel Universe”, though they didn’t know that’s what they were doing when they did it.

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The Gorey Century

The Gorey Century

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Yesterday was the 100th birthday of Edward Gorey, one of the most unique, unclassifiable artists that this country has ever produced. Though he died in 2000, he has a continuing cultural presence; he certainly lives on in my life and in the lives of a great many people.

Back in the incumbency of Jimmy Carter, when I was studying theater and living in the dorms of California State University Long Beach, one year I had a roommate named Scott. Scott didn’t fit into our tight-knit little community very well, and while I’ve always prided myself on my ability to get along with everyone, I didn’t get along very well with him. We had a bumpy year together, but I will always be glad that we were roommates, because Scott introduced me to the work of Edward Gorey, and that was a priceless gift that I can never repay him for.

Edward Gorey was a man of many talents — He did scenic and costume design for the stage, winning a Tony Award in 1978 for his costume designs for Dracula (his set design for that production was also nominated) and several of his stories are about ballet, which was one of his supreme passions. Additionally, he did highly individual book covers; for several years he did them for Anchor Paperbacks (including, among many others, editions of H.G. Wells’s The War of the Worlds, Franz Kafka’s Amerika, and T.S. Eliot’s Old Possum’s Book of Practical Cats), which are highly prized today simply for their Gorey covers. He also edited and illustrated a collection of classic ghost stories (1959’s Edward Gorey’s Haunted Looking-Glass) and did covers and illustrations for several of the supernatural mysteries of John Bellairs.

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Savage Sword of Conan is Back

Savage Sword of Conan is Back

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Savage Sword of Conan #1 (Titan Comics, February 2024). Cover art by Joe Jusko

Savage Sword of Conan, from Titan Comics, is the comic book that I have been waiting for. It is a thing of perfection: art, story, presentation, physical format – all unmatched.

The cover by Joe Jusko is brilliant, capturing some brutal imagery from the prose story within, penned by Jim Zub. I loved Joe’s work on the original SSoC run.

The introduction by Roy Thomas was a delight. Roy was the mastermind behind Conan the Barbarian and Savage Sword of Conan, but he’s also known for creating characters such as Wolverine, Vision, Werewolf by Night, Luke Cage, Iron Fist, Ultron, and scores more. Hearing that he had plans to contribute to this magazine filled me with joy.

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How Billy Graham’s Conan Art Got Him Fired from Fantastic Magazine

How Billy Graham’s Conan Art Got Him Fired from Fantastic Magazine

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Fantastic magazine, edited by Ted White. August 1972. Cover by Jeff Jones

I read Rich Horton’s Retro Review of the August 1972 issue of Fantastic magazine here at Black Gate, and I remember being excited by what I presumed was the first appearance of Conan in Fantastic, and then realizing just how awful the novelette was, which was made even more disappointing by the fact that this cover was the first time the great Jeff Jones, already known for terrific depictions of Howard’s Solomon Kane, tackled Conan.

Even in 1968, when I read Conan the Adventurer at the age of ten, I noticed that all the best Conan stories were by Howard, but it took me into my early teens to realize just how bad the non-Howard ones were. Yes, De Camp was a much better writer than Carter, but his work lacked the passion and pulp poetry necessary for the character, and something like “Beyond the Black River” (which my penpal Fritz Leiber thought was the best Conan story, along with “People of the Black Circle,” which Fritz liked for its sympathetic villain and capable proto-Indian heroine), was completely outside De Camp’s wheelhouse.

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Of Artistry, Addiction, and Self-discovery: Forthcoming Memoir of Fantasy Artist Tom Barber

Of Artistry, Addiction, and Self-discovery: Forthcoming Memoir of Fantasy Artist Tom Barber

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The art of Tom Barber: Amazing Science Fiction, March 1976, and the first issue of the
paperback version of Weird Tales, edited by Lin Carter (Zebra Books, December 1980)

The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow, for heaven’s sake.

–Kurt Vonnegut

Tom Barber was working in a commercial art studio in the mid 70s when he walked into a local bookstore while on lunch break. He found a book of illustrations by N.C. Wyeth, picked it up, leafed through it.

Returning to work, he marched into his boss’ office and gave his two-week notice.

“I didn’t know what I wanted to do, but after looking at those paintings I knew it was something along those lines,” he said.

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Visions of the Future: Sixty Years of Perry Rhodan Art

Visions of the Future: Sixty Years of Perry Rhodan Art

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My favorite science fiction series has always been Perry Rhodan, with the first German episode published in September 1961 (authors Karl Herbert Scheer and Clark Darlton) by Moewig Publishing. Although the U.S. editions ceased in 1979 after #137, in its native Germany the series continues to this day in various forms, with over 3,200 episodes in the main series and counting. According to author Andreas Eschbach, reading Perry Rhodan would roughly compare to reading 560 Harry Potter books.

The covers and internal illustrations for the first 1,800 German episodes were created by Johnny Bruck. Today a number of illustrators work for Perry Rhodan, with Alfred Kelsner being the only one still painting original art (vs. digital graphics). Perry Rhodan is considered the most successful science fiction series in Germany – a true classic!

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Friends From an Alien Universe: Buying Perry Rhodan Art

Friends From an Alien Universe: Buying Perry Rhodan Art

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Original art for Perry Rhodan #415 (August 15, 1969) by Johnny Bruck

As a teenager in the late 1970’s, my favorite science fiction series was Perry Rhodan. Although the U.S. editions ceased in 1979 after #137, in its native Germany the series continues to this day in various forms, with over 3200 installments in the main series and counting.

Some of the earliest SF art I ever collected, starting at the old Chicago Comicon in the late 1980’s, were U.S. Perry Rhodan covers by artists Gray Morrow and George Wilson. In Germany up to that time, the primary cover artist was Johnny Bruck (a few of which were reprinted on early printings of some of the U.S. editions). For decades I tried to find Bruck PR covers, but with no success.

About six months ago, an avid SF art collector in Switzerland, Markus Rohrwild, began to post loads of Bruck PR covers on the Comic Art Fans site. He was friends with Bruck’s widow and had acquired hundreds of paintings from her. I eventually reached out to him to see if any might be for sale, and I was extremely pleased when he agreed to sell some to me.

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The Fantastic Realms of Luis Royo

The Fantastic Realms of Luis Royo

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Realms of Fantasy covers by Luis Royo. Row 1: October 1997, April 1998, October 1998.
Row 2: December 1999, October 2001, December 2002. Row 3: October 2004, August 2005, June 2006

Three days ago I wrote a quick piece about a pair of late 90s Ace paperbacks by Cary Osborne, Deathweave and Darkloom. The thing that first attracted my interest — as it often is — was the great covers for both books, in this case the work of the talented Spanish artist Luis Royo. Royo got his start in Heavy Metal in the early 80s, and by the mid-90s was a fixture on SF and fantasy book covers in the UK and US. IMDB credits him with well over 300 covers, for every major book publisher, including Bantam, Tor, DAW, Roc, Ace, Questar, Avon Eos, Pocket Books, HarperPrism, the Science Fiction Book Club, and many, many others.

Royo has a distinctive style, one well suited to selling adventure fantasy, and he helped launch the career of several major genre writers of the era, including Julie E. Czerneda (with her Trade Pact novels), Walter Jon Williams (Hardwired), David Gemmell (Druss the Legend), Elizabeth Haydon (The Rhapsody Trilogy) Sara Douglass (The Wayfarer Redemption), and many others.

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