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

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

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

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Charles Guyette: Godfather of American Fetish Art [*Expanded Photo Edition*] by Richard Pérez Seves. New York: FetHistory, 2018. ISBN 978-1973773771 Although Stanton's official debut was after the war, it is very likely that Stanton already drew the daily panel 'Tin Hats' from July 1942 until November 1944 for the Bell Syndicate, as was discovered by Dutch scholar Ger Apeldoorn in December 2013. Seves quotes Ditko about the full-face mask: “I did it because it hid [Peter Parker’s] obviously boyish face. It would also add mystery to the character and allow the reader/viewer the opportunity to visualize, to ‘draw,’ his own preferred expression Peter Parker’s face and, perhaps, become the personality behind the mask.” In 1963, Stanton did a few very clever drawings for the Selbee magazine, Female Mimics. These are from Female Mimics 1, Female Mimics 2 and Female Mimics 3. In fact, while Stanton usually denied having influenced Ditko’s conception of Spider-Man—“Steve doesn’t like me to talk about him,” he told Theakston, “my contribution to Spider-Man was almost nil”— he sometimes admitted that the web-shooter idea was his.

STANTON’S DAUGHTER Amber wrote about her father’s contribution to Ditko’s creation of Spider-Man in an article, “A Tangled Web,” originally published in The Creativity of Steve Ditko (2012). She remembered watching with the family the Macy’s Thanksgiving Day parade on tv when she was nine years old. As a giant balloon of Spider-Man appeared on the screen, her father exclaimed: "Would you believe that— I never would have thought," she quotes her father saying with amusement. Almost at once Stanton recognized that art provided a unique satisfaction he did not experience in real life: not only access to a special fantasy world, but a sense of personal power: ‘I had control ... I could have the people I drew do anything I wanted’ he reflected in later years. ‘I was king of my world.’ Control and powerlessness—as mirrored in the secret subculture of the sexual fantasist–would become a major theme in his art. [...] Wrote Amber: “My father contributed to the costume, the idea of the web shooting out of Spider-Man's wrist, and the movement which he made with his hands to release the web. ... I still remember my father's beautiful, strong, broad hands as he showed me the movement that makes Spider-Man's web release from his wrist. It was just like my dad to come up with something like that. If you knew my father it would make sense that he had a hand in Spider-Man.” I see it reflected in the men and women who walk toward me at my openings; I see it in their fashion, and as tattoos worn on their skin,” she proclaims. “The best paintings, the ones that most resonate with my fans, live on in popular culture, in movies, on ephemeral objects. I see military men and women hang on to these objects as symbols of life, passion and love. People tell me they’ve had fun through the fantasies I’ve painted in their sexual lives, and say they’ve met their life partners and made babies!” From 1958 to 1968, [16] Stanton shared a Manhattan studio at 43rd Street and Eighth Avenue with Ditko. For many years, the two collaborated on fetish comics. [17] [18] 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". [19] In a 1988 interview with Greg Theakston, Stanton recalled that although his contribution to Spider-Man was "almost nil", he and Ditko had "worked on storyboards together and I added a few ideas.... I think I added the business about the webs coming out of his hands". [20] According to the fetish art historian and Stanton biographer Richard Pérez Seves, Stanton may have purposely underplayed his role and contribution to Spider-Man to maintain his friendship with Ditko. [21] Even more startling, evidence exists that Stanton also made uncredited contributions to Dr. Strange. [22] Later career [ edit ] Cover illustration by Eric Stanton for "Running Wild" by Myron Kosloff (a pseudonym of Paul Little)

Stanton's Bizarre Adventure Ch1: Stanton Pines by kururu418, literature

Maybe it shoots from his wrist,” Stanton might have said, demonstrating a maneuver with his hand and fingers.

The instructions that came with the girl’s fee from their anonymous employer were very explicit. Since Dan Marlo was always bragging about his masculinity and the fact that he was usually selected for he-man roles, the Tame-azons were to humiliate and degrade him by dressing him in feminine clothes and forcing him to act as a girl.

Stanton's Bizarre Adventure Ch2: Downtime by kururu418, literature

Biography [ edit ] Early life and career [ edit ] An episode from "Bizarre Museum", originally published in 1951–1952 You should know better than to bring a weak and puny man into my presence without fitting female clothes on his inferior body! Take those torn clothes away from him and place feminine attire on him to denote his lowly present stature." For De Berardinis, art goes beyond what is reflected on the paper or in print. Her creations, especially the stuff of a sexual nature, takes on a life of its own, which is fitting because it is where life begins. This affirmation of humanity and how it has connected with others over her long career is what she’s most proud of. Something in Stanton’s psychological makeup dictated channeling and creating art as a means of attaining a proper balance and some measure of control in his life. The actual art he made—the artifact itself—was always less important than the process. [...] It was the process of making art that Stanton lived for; it was that process of exploration and discovery.

During his last months with Rogers, Stanton was also producing work for Irving Klaw. Klaw, self-named the "Pin-up King," was a merchant of sexploitation, fetish, Hollywood glamour pin-up photographs, and underground films. His business, which eventually became Movie Star News, began in 1938 when he and his sister Paula opened a basement level struggling used bookstore on 14th St. in Manhattan. Amber said her father always spoke highly of Ditko’s art, particularly his inking ability. “When they collaborated,” she said, “my father did the pencil work, and Steve would ink over it.” Sadomasochism is very prevalent and most women are shown submissive. Many are in very extreme bondage. However, some women are in leather and hold whips or weapons, playing a more dominant role. They gave him a doll and sent him out in the yard to play. After a few hours of that, including Bill finding to his horror that his diaper was to be functional, they decided to change his costume.On leaving high school in 1944, Stanton enlisted in the US Navy and produced an information strip about aircraft recognition for a service newspaper. He would also entertain his fellow sailors by drawing glamorous girls on their handkerchieves. In ‘Men Tamed to Submission by Tame-azons’, Nutrix 1960, Portia and Potentia are hired to subdue and vanquish Dan Marlo, a well-known star of television, who specializes in he-man roles. They spirit the drunken actor away from a party with the help of chloroform. While he is unconscious, the girls lace him up in a corset than gag and bind him. Her mother was angry that Stanton never claimed recognition or royalties because of his role in creating the character. When Amber asked her father about it, “his response,” she said, “made it clear that it was something he would never even consider because the ideas were freely given. Eric Stanton & the History of the Bizarre Underground by Richard Pérez Seves. Atglen, Schiffer Publishing, 2018. ISBN 978-0764355424 The story ends with us discovering that the transformation was only a troubled dream Paul experienced while tied up by the Tame-azons. None the less, his behavior changes for the better:

The studio was bare bones. “It was a room about ten feet by twenty,” said Stanton. “One side was all windows. Steve’s desk and mine faced each other next to the window.” I always worked with water and tempera. I never liked oils. I can't stand the thought of taking more than an hour or two on a piece. The cover illustrations were in no way connected directly to the text of the novels. Sometimes Malcolm would describe a specific scene but the titles - Strange Hungers, Pleasure Bound, Something Extra - never had anything to do with the story. This speech makes me smile each time I read it. Can you imagine anyone actually taking like this? How about her statement that feminine attire denotes low stature? Doesn’t that seem inconsistent with ‘his inferior body’? Wouldn’t looking like a woman cause him to gain stature in the eyes of the ‘Tame-azons’? Over 200 original works by the pair are being exhibited together for the first time by TASCHEN Gallery, Los Angeles. Embrace Your Fantasies: Bizarre Life — The Art of Elmer Batters & Eric Stanton is running until 24 May. The plot twist is that Dan had anonymously hired the girls himself as a publicity stunt, figuring he could overpower them and escape whenever he wished. When he regains consciousness, however, he finds himself helpless in the expert hands of the tame-azons.Spider-Man’s face mask is unusual among superheroes. The mask covers the entire face. “Prior to Spider-Man,” Seves writes, “heroes had open faces (like Superman) or half-faces (like Batman).” Beginning in the mid-1970s, Bélier Press, a New York publisher of vintage fetish art, reprinted many of Stanton's comic serials in its 24-volume Bizarre Comix series. [27] Titles, mainly from the 1950s, include: Dianna's Ordeal, Perils of Dianna, Priscilla: Queen of Escapes, Poor Pamela, Bound in Leather, Duchess of the Bastille, Bizarre Museum, Pleasure Bound, Rita's School of Discipline, Mrs. Tyrant's Finishing School, Fifi Chastises Her Maids, A Hazardous Journey, Helga's Search for Slaves, Madame Discipline, and Girls' Figure Training Academy. [3] Seves accepts without qualification that Stanton helped Ditko and that Ditko helped Stanton. On full-fledged collaborations, Stanton usually did the pencils; Ditko, the inks. Stanton drew the women; Ditko, the men. And Seves points out evidence of Ditko’s hand in various of Stanton’s enterprises. When Malcolm gave up the business, he left Stanton the mailing list and the artist duly launched a new kinky series called Stantoons, catering more and more to the specific needs of his 20,000 customers. "I am like a priest or a doctor," he admitted. "I can't say anything about my customers. I've just learned that, if one has a fantasy, lots of others usually share it."



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