Bernard Krigstein — BrandWiki

Bernard Krigstein

birth date	March 22, 1919
birth place	New York City, US
death date	January 8, 1990
death place	New York City, US
pencil	y
ink	y
notable works	"Master Race"
awards	Jack Kirby Hall of Fame (1992) Will Eisner Comic Book Hall of Fame (2005)

Bernard Krigstein ([1] March 22, 1919 – January 8, 1990)[2] was an American illustrator and gallery artist who received acclaim for his innovative and influential approach to comic book art, notably in EC Comics. His artwork usually displayed the signature B. Krigstein. His best-known work in comic books is the eight-page story "Master Race", originally published in the debut issue (cover-dated April 1955) of EC Comics' Impact.

Biography

Born in Brooklyn, New York City[2] to a Jewish household,[1] Krigstein studied art at Brooklyn College.[3]

In 1952, Krigstein spearheaded an effort by himself and fellow comics artists Arthur Peddy, George Evans and Edd Ashe to found the comics industry's short-lived attempt at a labor union, The Society of Comic Book Illustrators. Peddy served as vice president under Krigstein, with Harry Harrison as secretary, Larry Woromay as treasurer, and Ross Andru, Ernie Bache, John Celardo, Morrie Marcus and Bernard Sachs as members-at-large. The organization went defunct shortly after publication of its third and final newsletter in June 1953. Krigstein began getting less work from his two mainstays — National Comics (the future DC Comics) and Atlas Comics (the future Marvel Comics). But during his presidency of the Society, the politically like-minded publisher of EC Comics, William Gaines, began giving him work (heeding the advice of editor Harvey Kurtzman). At EC, Krigstein "would produce the most acclaimed stories of his career between 1953 and 1955."[5] Krigstein's best-known work in comic books is editor Al Feldstein's story "Master Race", originally published in the debut issue (April 1955) of EC Comics' Impact. The protagonist is a former Nazi death camp commandant named Reissman who had managed to elude justice until he is spotted ten years later riding the New York City Subway. This story was remarkable for its subject matter, since many have claimed that the Holocaust was rarely discussed in popular media of the 1950s.[6][7][8] Krigstein, who sometimes chafed at the limits of the material EC gave him to illustrate, expanded what had been planned for six pages into an eight-page story. The results were so striking that the company reworked the issue to accommodate the two extra pages. In his expansion, Krigstein had stretched out certain sequences in purely visual terms; repetitive strobe-like drawings mimic the motion of a passing train, and Commandant Reissman's final moment of life is broken down into four individual poses of desperate physical struggle. Art Spiegelman described the effect in The New Yorker: "The two tiers of wordless staccato panels that climax the story... have often been described as 'cinematic', a phrase thoroughly inadequate to the achievement: Krigstein condenses and distends time itself... Reissman's life floats in space like the suspended matter in a lava lamp. The cumulative effect carries an impact—simultaneously visceral and intellectual—that is unique to comics."[9]

Bernard Krigstein

Biography

Mad

Book illustration

Awards

Further reading

External links

References