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Yellow Dog (1968) comic books
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Robert Hughes on Crumb's enduring popularity | Books | The Guardian
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This item will post to Germany , but the seller hasn't specified postage options. Instead, he was going to embrace his monsters and make sense of them with words and pictures. By now they are figures in a commedia dell'arte that is entirely of our time: we recognise ourselves, our relations with the world, with our lost parents, our present authorities, in them. It has been said, often and truthfully, that genius is nothing other than the ability to recapture childhood at will - but this has to include the terrors and desires of childhood, not just its Arcadian innocence.
There is the terrible sadness in the pre-sexual yearning of a nasty year-old, as he stares at the cowboy boots worn by Doris, an adult friend of his mother, whose face we don't see; that brat is you and me. We may not all have the thing about teenage bobbysoxers with "fahn big laigs" that Crumb admits to, but most of us have permanent hot fantasy-buttons of one kind or another, and Crumb's drawings remind us of the fact.
We can never see things with the x-ray vision of Superman or the deductive brilliance of Dick Tracy, but we can sure as hell remember what it was like being stomped on by authorities, whether parents, cops or some terrifying ogress of a nun, as little Robert was in his Catholic school nearly half a century ago - and we can share the bloody inventions of revenge set forth in his drawings.
That's why Crumb is a genuinely democratic satirist, in the fierce over-the-top way of a James Gillray - hyperbole and aggression relieved by brief intermissions of tenderness.
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He gets into the domain of shared dreams and does so in a language that doesn't pretend to be "radically new". Why on earth should he pretend? If he did, people wouldn't know what he was drawing about. As he pointed out in an interview 30 years ago: "People have no idea of the sources for my work. I didn't invent anything; it's all there in the culture; it's not a big mystery. I just combine my personal experience with classic cartoon stereotypes. At the end of The R Crumb Handbook is a list of the artists fine and cartoon who have influenced him.
The fine artists include, for more or less obvious reasons, Bosch, Pieter Brueghel, Rubens them Flaimish blondes with fahn big laigs , Hogarth and Goya; among the modern ones are Reginald Marsh, George Grosz and Otto Dix; but there are no living ones at all. Crumb's view of the contemporary art world is implacably jaundiced.
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He regards it as a saturnalia of phoneys and fashion-victims. Its central character, in one strip, is a gaunt, airheaded twerp of an unsuccessful fashion model named Mode O'Day, whose opening thought-balloon is: "I could be going to parties with Bianca Jagger and Andy Warhol instead of hanging around with these boring nonentities. Then tastes changed; Crumb became more desirable in the artworld, not because of pop art, but because of the enormous influence on collectors and museum people of the "dumb" figuration of the late, great Philip Guston, which was itself largely based on comic strips such as George Herriman's Krazy Kat.
Now that he has been "kicked upstairs" into the museum, Crumb professes not to get it. It's a mystery to me. But no matter. What counts for Crumb, and should continue to count for his fans, is that he gets on with what has always been, for him, the immediate job at hand: continuing to make the kind of drawings that his mother and father would never, not in a month of Sundays, have allowed him to see.