That phrase, “the Reds and the Blues,” is important to me because Red means “Happy” and Blue means “Sad.” Opposites that make a whole when taken together. This picture is of a boy that might have been my son if I had married the blond girlfriend that was closest to me (at times) in the 1980s. It is called, “Long Ago It Might Have Been.”
But Red also means “Anger.” Here’s a band of red-uniformed soldiers marching into the threatening darkness of the future. They are leaving the Blue mountains of sadness behind where Blue also means, “in the distance.”
Red, of course, is also symbolic of “Love.”
Blue can also mean, “Magic and Mystery.”
Blue can also mean, “Cold and even Depression.” While Red can mean a “Cardinal, the symbol of Resilience and Hardy Constitution.”
Red, Blue, and Yellow, especially when supported by the other colors, mean, “Completeness.”
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.
The New Year’s page 1909
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.
Bernie Wrightson in 1972, when I was a freshman and sophomore in high school, created for D.C. comics the character known as The Swamp Thing.
Of course,
being a stupid kid at the time, I totally ignored his genius with pen and ink, ink and brush, and fascinatingly dense forests of intricate detail.
I didn’t really get it until he joined The Studio with Jeffery C. Jones, Michael Kaluta, and Barry Windsor-Smith (whom I idolized for his work on Conan.)
And while in college, consuming everything available by The Studio that I could find and afford, I fell in love with his deeply dark and brooding illustration work for a new edition of Mary Shelley’s Frankenstein.
Frankenstein had 50 illustrations by Wrightson that firmly established the fact that by drawing with black ink you could show in startlingly real ways the qualities of white light. That appealed to me both literally as a way to make beautiful art and metaphorically, as that last thing was what I was doing with my own life, drawing the darkness to get to the beautiful light.
Most of his work
was drawing monsters; werewolves, zombies, the creatures of H.P. Lovecraft, and numerous things from nightmares.
But it has a definite beauty of its own. Darkness, evil, and corruption brings out the quality of what is light, righteous, and pure. There is truth in approaching reality from the dark side of the equation.
Of course, he would also do work on heroes like Batman, because the darkness breeds its own defenders of justice.
I am not so much a fan of monsters as I am a believer of taming the monsters who beset us as we try to make a worthy life for ourselves. But I can definitely see where Bernie Wrightson has been doing exactly that with his brilliant pen-and-ink artwork. Sadly, he will be doing no more of it since we lost him in 2017. But it is a legacy he left behind that will make his light continue to shine forth from dark places for a long time to come.
I was a boy back when the milk man still came around in his blue-and-white panel truck delivering bottles of milk with Elsie the Cow on them. I don’t remember clearly because I was only 4 years old back when I first became aware of being a boy in this world instead of being something else living somewhere else.
There were many things I didn’t know or understand back then. But one thing I did know, was that I loved Elsie the Cow. And why would a farm boy love a cartoon cow? There were many not-so-sensible reasons.
For one thing, Elsie the Cow reminded me of June Lockhart, Lassie’s mom and the mom from Lost in Space.
Lassie’s Mom, June Lockhart
It may be that June Lockhart’s eyes reminded me of Elsie’s eyes, being large, soul-full eyes with large black eye lashes. It may be that she starred in a TV commercial for Borden’s milk in which Elsie winked at me at the end of the commercial.
Or maybe it was because Elsie had calves and was a mom. And June Lockhart was Lassie’s mom and the mom of Will Robinson, so I associated both of them with my mom, and thus with each other.
Elsie gave you milk to drink and was always taking care of you in that way. Milk was good for you, after all. My own mom was a registered nurse. So they were alike in that way too.
And she was constantly defending you against the bulls in your life. She stood up to Elmer to protect her daughter more than once. Of course, her son was usually guilty of whatever he was accused of, but she still loved him and kept Elmer from making his “hamburger” threats a reality.
And you can see in numerous ad illustrations that Elsie’s family were basically nudists. Although she often wore an apron, she was bare otherwise. And though her daughter often wore skirts and her son wore shorts, Elmer was always naked. And that didn’t surprise me, because no cow I knew from the farm wore clothes either. From very early in my life I was always fascinated by nakedness, and I would’ve become a nudist as a youngster if it hadn’t been soundly discouraged by family and society in general.
Proof that Elsie’s family lived the nude life.
Puppets from a Borden’s commercial
So there are many reasons why I have always loved Elsie the Cow. And it all boils down to the love of drinking milk and that appealing cartoon character who constantly asked you to drink more.
Yes, this is an old post from 2017r that is ironically about going back and rereading old posts. Sorry about that. But it made me laugh when I reread it.
I often go back and re-read old posts, particularly when I discover that someone else has read them. It is amazing to me how differently I perceive things from when I actually wrote the post. As you write, squeezing huge, boulder-sized portions of hot, magma-like burning ideas and passions out through writing orifices not nearly big enough to accommodate, you usually hate what you wrote and are still writhing in pain from the creation of it as you try to edit it, trim it and brush its unruly hair. (How’s that for a mixed metaphor to make you cringe?) But given time and distance, you can really appreciate what you wrote more than ever before. Things that you thought were the stupidest idea a man ever put in words suddenly have the power to make you laugh, or make you cry. You are able to feel the things the writing was intended to make you feel. You begin to think things like, “Maybe you are not the worst writer that ever lived, and maybe that’s not why nobody ever reads your books.” But then, of course, your sister reads the post and tells you that you write like a really old, really crabby, really ancient old man. And you use the word “really” too much too. I know I deserve that, Sis. Especially the “really” part.
This is the thing about happiness; It is elusive and rare as a real-life blue bird. But capturing it for a moment is not impossible. And as long as you don’t try to salt its tail and keep it prisoner, you can encourage it to sing for you. (Much better metaphor this time, don’t you think?)
When I am accused of being gloomy, old, and boring, I can happily admit it and make it into something funny. I am something of a conspiracy nut, but not so serious that I believe all my own assertions. For those people who took offense at this conspiracy theory of mine; Coca-Cola Mind Control, I would like to point out that “Hey, I was joking. I actually like clowns.” Even though there is a serious side to everything and there can’t be laughter without some tears, I am basically happy with the way things are.
I started listening to “Live Happy Radio” on Sunday mornings on KLUV in Dallas. They point out on their program of endlessly droning happy-talk that happiness is something that you can work at. Like humor writing in blogs, it takes practice and practice and time. They even asked me to share the word about their happy magazine and products, so I am doing exactly that right here. Sometimes you simply have to put your cynicism in a jar on the shelf next to the lock box where you keep depression and self-loathing. So you can find their Live-Happy folderol right here.
So I am bird-watching again with an eye out for the bluebird. You know the one. It is out there somewhere. And I need to hear that song one more time.
Descend with me into the place where ideas come from, deep beneath the clothing you cover yourself with to protect yourself from the unknown. You come into this life naked. You can be wrapped for burial when you die, but if anything steps out of the dead body, it will not be wearing clothing. You face the inner demons and devils of life only with your naked self for defense.
Children seem, as a rule, to be more open to creativity. They are closer to the simple recombining of ideas that lead to new and creative thought. Children are also more open to living life naked. Shyness and negative body images are things that have to be carefully taught, along with racism, classism, entitlement, and a narcissist’s love of only the self. It is natural to be naked. We do not have to be taught how to be that.
I am now old and withering in body and energy and health. But as a senior citizen, I have embraced the urge to become a nudist that was always a part of me. I tend to see myself as a child when I think about the inner me, the me that lives near the actual source of all creativity. I do, in fact, more often than not, portray myself as a naked child. Though, I must warn you, my joy in my own nakedness was taken away from me at the age of ten. It took many years to get it back.
But the nakedness I am talking about in this Art Day post is not the literal nakedness of the old and spotty me. It is the willingness to stand emotionally naked in front of the world through the medium of this blog and use some of my deepest secrets as the puzzle pieces to put together a totally revealing picture of the me that is my creativity. I risk much to stand naked before the world. No armor to deflect the spears and arrows. No camouflage to hide me safely away from whatever attacks may come from those who see me for the first time, naked as I am, even when I am wearing clothes.
I wish to sing a song of myself, in the way Walt Whitman did in his Leaves of Grass. I need to make my body electric not only open to anyone and everything, but to actually become a part of all of it… to be one with all of you.
Some will look upon the fruits of my creativity and say I created something beautiful. Others will be offended and accuse me of misusing my gifts for some evil or perverted purpose.
But deep down and far below I have uncovered the naked truth. And I do not need to hide anything by trying to wear clothing as a disguise. I am a nudist. I am nothing but me. I have the curse of being creative, and that has led me to showing you what is within me, the things I have created, and the thoughts that gave birth to them. The naked me.
Going through my old drawing portfolio, I found my children’s book project from my undergrad college years. I have no idea now looking at the illustrations what the story was even about. I lost the actual story, and I never made a cover for it. But here is a look at old hopes and dreams and a way of seeing the world that begins; Once Upon a Time…
I have no earthly idea what the heck this story is even about, but I do like the pen and ink work, and probably couldn’t repeat it if I had to.
It is not an easy thing to explain. Artists don’t see things using only their eyes. The brain intrudes in the process. For instance, you are welcome to interpret the picture above any way you like. But the way I see it will be nothing like what you thought this picture is about. You probably see two very different girls here. There is actually only one. I know because, as the artist who drew both parts of this picture, I actually know where the ideas came from. There is only one girl in the picture. Dilsey Murphy, in front and wearing her Carl Eller Minnesota Vikings’ jersey, is based about 33% on the older of my two sisters. On the outside she is pragmatic, no-nonsense, and focused on living a family life that is as normal as possible. But the inner Dilsey is the African leopard-princess. She dreams of going on Tarzan adventures in the movie-jungles of the mind with a handsome male hero. She is fierce, loyal, and completely independent, not even needing the hero she adventures with. In fact, she often saves him.
This picture is about the idyllic parts of my childhood. The mother figure is doing a ritual dance. She is in tune with the music of daily life. She is closely attuned also to her responsibilities of stewardship in her society. Both children are nude. I cropped this picture so that it is not rude and showing Smiling Boy’s penis. But both children are bathed in nature and sunshine, not just because I am pro-nudism personally, but because clothing covers up innocence and joy.
This one is easier to interpret. I was an ESL teacher. I had students who spoke Spanish as their first language and students who learned to speak Mandarin Chinese as their first language. It makes for a classroom that becomes a cultural mixing bowl. You have to learn how to deal with people who are very different than you,, but are benefitting from learning English together.
Every picture the artist draws or paints has its own weirdness embedded inside it. The way the artist sees it is probably never the same as how the viewer thinks about it. And that is as it should be. But as a viewer of art, it is hoped that you will at least try to think about what the artist means to say..
Sherry Cobble, twin sister of Shelly, nudist, Iowan
When I was a child, this is what the inside of my mind looked like if you added a million more images that I didn’t have room to draw here.
Surrealism is when you make what can’t possibly be real look real.
Is this what music looks like if you can’t hear it with your ears but can only see it with your inner eyes?Can you look into someone’s eyes and tell who they are? Especially if they tell you they are a dragon?Can this picture make you sad? What if I told you the child died of cancer? Is it the picture that makes you sad, or what I told you?This is a photograph. Does that mean that what is in the picture is real?Does this picture mean anything at all? How about if I told you this entire post was put together while watching a video about the philosophy of Immanuel Kant? It was about how we use pure thought to understand everything our senses alert us to. Does the picture fit into the concepts you already have in your head? A naked child putting together puzzle pieces that are falling like snow?
I have no reason for putting this post together. But I wonder;..
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