Science Fiction And Fantasy Artists Of The Twentieth Century: A Biographical Dictionary

535 Pages·2009·7.87 MB·English

by  Jane Frank

Science Fiction and
Fantasy Artists of the
Twentieth Century
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Science Fiction and
Fantasy Artists of the
Twentieth Century
A Biographical Dictionary
J F
ANE RANK
McFarland & Company, Inc., Publishers
Jefferson, North Carolina, and London
LIBRARYOFCONGRESSCATALOGUING-IN-PUBLICATIONDATA
Frank, Jane, 1942–
Science fiction and fantasy artists of the twentieth century :
a biographical dictionary / Jane Frank.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-7864-3423-7
illustrated case binding : 50# alkaline paper
¡. Science fiction illustrators—Biography—Dictionaries.
2. Art, Modern—20th century—Dictionaries.
I. Title.
NC961.6F73 2009 700'.415—dc22 2008041727
British Library cataloguing data are available
©2009 Jane Frank. All rights reserved
No part of this book may be reproduced or transmitted in any form
or by any means, electronic or mechanical, including photocopying
or recording, or by any information storage and retrieval system,
without permission in writing from the publisher.
Cover art by Robert Fuqua, from the cover of the April 1939
Amazing Stories(Wood River Gallery)
Manufactured in the United States of America
McFarland & Company, Inc., Publishers
Box 6¡¡, Je›erson, North Carolina 28640
www.mcfarlandpub.com
For Howard,
my loving partner in passion for the genre,
and for all the other enthusiasts
and collectors of science fiction and fantasy art
who came before me and will surely follow after.
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Table of Contents
Preface 1
How to Use This Book 5
Abbreviations 9
PART I. A CENTURY OF SCIENCE FICTION ART 11
Historical Overview, to About 1975
(by Robert Weinberg) 13
Historical Overview, from the 1970s to 2000
(by Jane Frank) 35
PART II. THE BIOGRAPHIES 69
PART III. APPENDICES: ART AWARDS 497
1. The Hugo Awards 499
2. The World Fantasy Awards 501
3. The Chesleys 502
4. The British Science Fiction Association Awards 506
5. The British Fantasy Awards 507
Index 509
vii
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Preface
This book had an excellent predecessor in thus provided the inspiration and model, but it
Robert Weinberg’s pioneering Biographical Dic- was time and retrospection that triggered the
tionary of Science Fiction and Fantasy Artists, need to refine and expand his good work: a
published in 1988. Weinberg is a world author- challenge this writer could not refuse.
ity on classic science fiction, fantasy and horror, No book of this nature can ever be com-
a rare art and book dealer and collector, and plete; nevertheless best efforts were made to in-
author of fiction and nonfiction books in the clude all the major American and British artists
genre. His keen sense of history, knowledge- of the twentieth century, as well as many inter-
ability, and love of the field brought needed at- national and lesser known artists. Size and time
tention to a long neglected area of scholarship. limitations made it impossible to include every
Yet by the turn of the millennium it had already artist who has ever done any work in science
become clear there would not only need to be fiction. Further, the global popularity of sci-
another edition, but a different one. Why? ence fiction literature and imagery in the last
“The twentieth century was the Science quarter of the century guarantees that a num-
Fiction Century,” to quote Charles N. Brown, ber of deserving artists may have been inadver-
publisher. “Science fiction affected everything, tently omitted. For the purposes of this book,
and we now live in a science fiction world,” he artists considered to be belong more properly
wrote in Locus in 2002. “It won’t be quite the to the nineteenth century were dropped. The
same in the 21st century. Science fiction will be same considerations were brought to bear when
just as important, but things will probably be judging whether to include artists entering the
different.” Brown, and others, when speaking of field close to the end of the twentieth century;
such things, are speaking in terms of book pub- those artists whose contributions could not yet
lishing and the ways ideas are disseminated. In be honestly assessed, or whose styles or art ca-
their view, the last century was, for authors and reers suggested they would more properly be-
editors, science fiction’s period of greatest long to the twenty-first century, were similarly
growth. This is just as true for science fiction art excluded. It is hoped this dictionary will serve
and artists, who have been inextricably associ- as the catalyst for future separate projects deal-
ated with illustrating all things literary. The last ing with those, and possibly other, historical
quarter of the twentieth century brought ex- time frames.
plosive growth and opportunity to artists in the The basic criteria used to select artists were
field, as well as bringing massive changes and “importance to the field, influence in the field,
dislocation, to such an extent that we can say of amount of work done in the field, and histor-
the genre “[Art] won’t be quite the same in the ical importance.” To confirm the validity of
twenty-first century. Science fiction art and choices made, a working list of artists was pre-
artists will be just as important, but things will pared and circulated among several respected
certainly be different.” Weinberg’s seminal book science fiction historians, artists and collectors.
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