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Krazy Kat, Ignatz Mouse, and other Coconino County residents travel to Alamogordo, New Mexico, where Krazy is awed by a giant tower and Ignatz falls for J. Robert Oppenheimer

KRAZY KAT, the strip done fifty years ago by George Herriman, is amodern classic. The obvious reason is that when you look at examples of it, they're just as funny today as when they first cam out. They're very literate, they make sense on many levels, and they're beautifully drawn, in that old-time scratchy style we seem to have lost since then.

Favorite cartoons from the Krazy Kat comic strips

Krazy Kat made its comic strip debut in 1913, in William Randolph Hearst's New York Evening Journal. For 31 years, until creator George Herriman's death, Krazy Kat, along with tireless tormentor Ignatz Mouse, were enormously popular with the general public and with some of tire leading writers, artists, and intellectuals of the time. This comprehensive volume on Herriman and his art features over 150 comic strips, 48 color cartoons, and never-before-published drawings, photographs, and letters.

KRAZY KAT, the strip done fifty years ago by George Herriman, is amodern classic. The obvious reason is that when you look at examples of it, they're just as funny today as when they first cam out. They're very literate, they make sense on many levels, and they're beautifully drawn, in that old-time scratchy style we seem to have lost since then.

Favorite cartoons from the Krazy Kat comic strips

Krazy Kat, Ignatz Mouse, and other Coconino County residents travel to Alamoqordo, New Mexico, where Krazy is awed by a giant tower and Ignatz falls for J. Robert Oppenheimer

Krazy Kat & the Art of George Herriman is a tribute to one of the most influential and innovative comic strips and creators of all time. This unique collection of rare art, essays, memorabilia, and biography highlights the career of the first genius of comics, George Herriman, and his iconic creations, Krazy Kat and Ignatz Mouse. During its 31-year run, Krazy Kat was enormously popular with the public, as well as influential writers, artists, and intellectuals of the time. This book includes original essays by Jay Cantor, Douglas Wolk, Harry Katz, Richard Thompson, Dee Cox (Herriman's granddaughter), Craig McCracken, Bill Watterson, and authorized reprints of two seminal essays on Herriman by Gilbert Seldes and E. E. Cummings, alongside newly discovered vintage essays by TAD, Summerfield Baldwin, and Toots Herriman. With Krazy Kat & the Art of George Herriman, Craig Yoe reveals this influential artist and writer for a whole new generation.Praise for Krazy Kat & the Art of George Herriman:  “The gorgeous volume includes essays by comics historians and creators (including Calvin & Hobbes’ reclusive Bill Watterson and poet e.e. cummings) as well as generous servings of sketches, strips, original art and more.” ––Miami Herald “Craig Yoe has dug up never-published artwork, artifacts, and letters that will bring Herriman to life for the uninitiated while giving fans something new to feast on.” ––Los Angeles Magazine “It’s the ephemera that make this collection invaluable.” —The A.V. Club “Craig Yoe has crafted a book that shows as well as it tells; it’s a wonderful combination of elegant design and informed and insightful scholarship that does a fine job of conveying why the comic strip is still so fondly remembered nearly a hundred years after its creation.” —ICv2

Wonderful Krazy Kat cartoon volume. Subversively humorous.

A delightful introduction to the color strips of Krazy Kat

Unerwiderte LiebeKommt ein Ziegelstein geflogen: George Herrimans Comicklassiker Krazy Kat CONFIDENTIAL XXLDie Grundsituation ist simpel: Schwarze Katze liebt durchtriebene weisse Maus, die ihr immerzu Ziegelsteine an den Kopf wirft, was wiederum Hundepolizi.

Krazy and Ignatz 1943-1944 covers the last two years of Herriman's masterpiece. With this volume, Fantagraphics and its precursor Eclipse will have reprinted the entire 29-year run of the Krazy Kat Sundays! Like Charles Schulz, George Herriman was a cartoonist to the very end. Aside from collecting the last masterful year and a half of "Krazy Kat," this new volume will offer a retrospective look at Herriman's life at the drawing table, offering many never before seen samples of his original art (which the cartoonist often lovingly hand-colored for friends). Gathered from many scattered collections, these pages testify to Herriman's invererate passion for drawing. Rounding out the volume are scores of Krazy Kat daily strips also from Herriman's last years, further testament to the cartoonists vitality. Series editor and veteran comics historian, Bill Blackbeard, also provides a concluding, wide-ranging essay on the life and art of Herriman. More than a simple reprint collection, Krazy and Ignatz 1943-1944 portrays the full range of a cartoonist who remained an artist all his life.

Much attention has been paid to Herrriman’s Sunday full-page comics, yet it is in the daily Krazy Kat strips that the cartoonist most frankly illustrates many of his major themes, especially the shifting nature of social identity. The 1934 strips reprinted in this book fit anyone’s definition of “essential.” They show Krazy Kat at top speed, ever-changing, endlessly inventive, with language that sparkles with double meanings, and more, in lines such as “his malady drills me to my sole.” The year includes homages to old jokes and bricks, followed by playful references to sex, drink, and even drugs. The daily Krazy Kat strips are often Herriman’s most personal works and standouts in this year include Krazy Kat’s attempt to write a memoir and the Kat’s quietly waiting for the last leaf of “ottim” to fall (a tender scene that finds echoes in Charles Schulz’s drawing Linus admiring the last autum’s leaf stubborn spirit). It could also be argued that the daily is more accessible to the new reader. Herriman biographer Michael Tisserand provides an insightful introduction. LOAC ESSENTIALS reprints, in yearly volumes, the early daily newspaper strips that are essential to comics history, seminal strips that are unique creations in their own right, while also significantly contributing to the advancement of the medium. The strips are reproduced one per page, giving readers an immersive experience, similar to the one newspapers readers had may decades ago―reading the comics one day at a time.

Much attention has been paid to Herrriman’s Sunday full-page comics, yet it is in the daily Krazy Kat strips that the cartoonist most frankly illustrates many of his major themes, especially the shifting nature of social identity. The 1934 strips reprinted in this book fit anyone’s definition of “essential.” They show Krazy Kat at top speed, ever-changing, endlessly inventive, with language that sparkles with double meanings, and more, in lines such as “his malady drills me to my sole.” The year includes homages to old jokes and bricks, followed by playful references to sex, drink, and even drugs. The daily Krazy Kat strips are often Herriman’s most personal works and standouts in this year include Krazy Kat’s attempt to write a memoir and the Kat’s quietly waiting for the last leaf of “ottim” to fall (a tender scene that finds echoes in Charles Schulz’s drawing Linus admiring the last autum’s leaf stubborn spirit). It could also be argued that the daily is more accessible to the new reader. Herriman biographer Michael Tisserand provides an insightful introduction. LOAC ESSENTIALS reprints, in yearly volumes, the early daily newspaper strips that are essential to comics history, seminal strips that are unique creations in their own right, while also significantly contributing to the advancement of the medium. The strips are reproduced one per page, giving readers an immersive experience, similar to the one newspapers readers had may decades ago―reading the comics one day at a time.

Sunday Krazy Kat strips from all of 1941 and 1942 and a bounty of extras, including an essay by Jeet Heer about the history and precedents of Herriman's unique use of language. George Herriman integrated full, spectacular color into Krazy Kat in June, 1935. The gorgeous evolution continues in Fantagraphics's fourth color volume (subtitled "A Ragout of Raspberries"), which includes the Sunday strips from all of 1941 and 1942. The color format opens the floodgates for a massive amount of spectacular, rare color art from series editor Bill Blackbeard and designer Chris Ware's files. Most of these strips in this volume have not seen print since originally running in Hearst newspapers over 60 years ago. For this volume, critic Jeet Heer contributes an essay about the history and precedents of Herriman's unique use of language, exploring his characters' loquacious lexicography.

1st edition. Hardbound in dust jacket. Minor wear to board corners & wear to dust jacket edges, otherwise very good.

Light cover wear. Mint or near mint inside.

by George Herriman The Kat Who Walked In Beauty collects many rare and unique dailies from the 1910s and 1920s. Though many readers are aware of Herriman's dynamic Sunday pages, few know that during 1920, in what must have been an editorially unrestrictive period for Herriman, he drew some of the most graphic and brilliantly conceived daily strips ever created - they look like "mini-Sunday" strips. This nine-month stretch of dailies, never-before-reprinted, is among the treasures included in this collection. The collection includes many other Herriman gems, including the very first stand-alone Krazy & Ignatz strips from 1911, and the illustrations from Herriman"s Krazy Kat Jazz pantomime/ballet, performed to captivated New York audiences in 1922.

While the Krazy Kat Sundays were created and published in black and white until 1935 (and therefore the majority of strips in this book are black and white), Herriman’s publisher did briefly experiment with running the strip in color in 1924, and all 10 of these rare full-color strips are presented here.