I am certainly no expert on the Golden Age of Comics. I was, in fact, born the year that the Golden Age ended. I am a child of the Silver Age (1956 to the early 1970s) and those were the comics I grew up with. But I admit to a fascination with the initial creation of the characters I love, including Batman, Superman, the Flash, Captain America, the Phantom, Steve Canyon, Wonder Woman and numerous others who were first put on the comic book pages in the Golden Age. And being subject to comic book prices that zoomed upward from a dollar an issue, I was bedazzled by the ten cent price on old comics.
Comic books owe their creation to the popular newspaper comic strips from the Depression era and WWII wartime. Originally, comic strips were gathered and printed on cheap paper. Dick Tracy, Prince Valiant, Terry and the Pirates, Flash Gordon, and other adventure strips would lead to the war comics and hero-centered comics that would morph into superhero comics.
Some of the artwork in Golden Age comics leaves a lot to be desired. Especially original, straight to comic book publications that were produced fast and furiously by publishers who would open one week, produce three issues. and go out of business three weeks later. But in the mad scramble, some truly great artists formed the start of their illustrious careers, Will Eisner, Hal Foster, Milt Caniff, and Bill Elder learned to master their craft in the newspaper strips, and all later created comic books and graphic novels. True geniuses like Jack “King” Kirby and Bob Kane and Jack Davis grew directly from comic book studio madhouses into comic-book-artist immortality.
As with most things that have a Golden Age, the truth was that later comic book eras were superior in most ways. But this Golden Age was the foundational age for an American art-form that I truly love. So, flaws and warts are overlooked. And some of these old ten cent books on super-cheap paper are worth huge amounts of money if you still have a rare one in mint condition. Ah, there’s the rub for a manic old collector guy like me.
Most of the Golden Age comic book images used for this post were borrowed from the ComicsintheGoldenAge Twitter page @ComicsintheGA. If you love old comics like I do, you should definitely check it out.
Catch a Falling Star 
Winsor McCay
One work of comic strip art stands alone as having earned the artist, Winsor McCay, a full-fledged exhibition at the Metropolitan Museum of Art in New York City. Little Nemo in Slumberland is a one-of-a-kind achievement in fantasy art.
Winsor McCay lived from his birth in Michigan in 1869 to his finale in Brooklyn in 1934. In that time he created volumes full of his fine-art pages of full-page color newspaper cartoons, most in the four-color process.
As a boy, he pursued art from very early on, before he was twenty creating paintings turned into advertising and circus posters. He spent his early manhood doing amazingly detailed half-page political cartoons built around the editorials of Arthur Brisbane, He then became a staff artist for the Cincinnati Times Star Newspaper, illustrating fires, accidents, meetings, and notable events. He worked in the newspaper business with American artists like Winslow Homer and Frederick Remington who also developed their art skills through newspaper illustration. He moved into newspaper comics with numerous series strips that included Dreams of the Rarebit Fiend and Little Nemo in Slumberland. And he followed that massive amount of work up by becoming the “Father of the Animated Cartoon” with Gertie the Dinosaur, with whom he toured the US giving public performances as illustrated in the silent film below;
The truly amazing thing about his great volume of work was the intricate detail of every single panel and page. It represents a fantastic amount of work hours poured into the creation of art with an intense love of drawing. You can see in the many pages of Little Nemo how great he was as a draftsman, doing architectural renderings that rivaled any gifted architect. His fantasy artwork rendered the totally unbelievable and the creatively absurd in ways that made them completely believable.
I bought my copy of Nostalgia Press’s Little Nemo collection in the middle 70’s and have studied it more than the Bible in the intervening years. Winsor McCay taught me many art tricks and design flourishes that I still copy and steal to this very day.
No amount of negative criticism could ever change my faith in the talents of McCay. But since I have never seen a harsh word written against him, I have to think that problem will never come up.
My only regret is that the wonders of Winsor McCay, being over a hundred years old, will not be appreciated by a more modern generation to whom these glorious cartoon artworks are not generally available.
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Tagged as Little Nemo in Slumberland, Winsor McCay