The Art of Eric Stanton: For the Man Who Knows His Place

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Ditko biographer Blake Bell, without citing sources, said, "At one time in history, Ditko denied ever touching Stanton's work, even though Stanton himself said they would each dabble in each other's art; mainly spot-inking", [17] and the introduction to one book of Stanton's work says, "Eric Stanton drew his pictures in India ink, and they were then hand-coloured by Ditko".

The British painter Allen Jones admires Stanton and his peers for their 'expressionist intensity' and 'sheer pictorial invention, draughtsmanship and humour'. Chapter 6, pages 39, 46-47, 50, 52; chapter page 27; chapter 14 page 79 + 5 more; chapter 16, 2 pages; chapter 29, one page; chapter 28, two pages; chapter 31, two pages; chapter 39, four pages. Discover the captivating art of Eric Stanton and delve into his unique style and provocative themes. He later shared a studio with classmate Steve Ditko, co-creator of Spider-Man and Doctor Strange for Marvel Comics in the 1960s. During this period, Stanton came across an advertisement by Irving Klaw, New York's self-styled pin-up king, offering 'fighting girl illustrated serials' by mail.

Personalised advertising may be considered a “sale” or “sharing” of information under California and other state privacy laws, and you may have a right to opt out. Keep in mind that anyone can view public collections - they may also appear in recommendations and other places. Massive oversized hardcover with dust jacket and wraparound band, 352 pages; very tight in binding, unusual in such a large book, immeasurably tiny bumps to edges and corner tips, but treated with great respect, essentially almost as new; DJ also essentially almost as new except for traces of rumpling along top edge; wraparound band as new.

His imaginative, detailed full-color comic strip narratives depict buxom, leggy femmes fatales having their way with tied-up, handcuffed, or simply awestruck men. Drawing became his passion from the age of 12, when he started copying the scantily-clad heroines in early comic books. This retrospective volume covers Stanton's work from the late 1940s to the 1990s, including over 500 comic strips, single illustrations, and magazine covers. While Stanton began his career as a bondage fantasy artist for Irving Klaw, the majority of his later work depicted gender role reversal and proto-feminist female dominance scenarios. Stanton invented many memorable titles for Klaw, including Girls' Figure Training Academy and Madame Discipline, and scripted the occasional serial, but he mainly illustrated Klaw's and other people's stories.Some of the technologies we use are necessary for critical functions like security and site integrity, account authentication, security and privacy preferences, internal site usage and maintenance data, and to make the site work correctly for browsing and transactions. In his earliest works, such as Diary Of A Lady Wrestler, Stanton concentrated strictly on 'fighting femmes', but by the early 1950s, on Klaw's instructions, he started specialising in the bizarre conventions and contraptions of bondage.