KIDART

A study of one of my child drawings. My sister and I lived with our grandparents as kids and we were surrounded by old folks. They talked about World War 2 a lot. This was my idea of an air battle over Germany. I was fascinated by the idea of a "burp gun", a cannon which shot improvised shells made of metal shrapnel and junk. We knew one old guy named Luther who was a fighter pilot and had been shot at by a burp gun-- he said a huge metal bolt shot right through the cockpit of his jet, right between his legs, and cleared the top of his cockpit. This was a drawing of Luther's plane being shot at by a burp gun.

BERLIN+BATMAN

Hard to believe it's been ten years since I did the Berlin Batman story, but it has. It is collected for the first time in the Batman Year 100 trade paperback. Berlin Batman was my first work in "mainstream" comics and my first big comics job printed in color. What if Bruce Wayne were a Jew, born into a Germany suffering under encroaching Nazism? That was the pitch. I had just read Christopher Isherwood's Berlin Stories and George Grosz's autobiography, both of which paint vivid pictures of this place and time, so it seemed a natural turn of events to imagine a shadowy superhero for that world as well.

The building depicted on the page above is actually a building in Paris, a hotel on the corner of Boulevard Montparnasse at Raspail, near the Luxenbourg Gardens. Not very German. I had an old postcard with a photograph of the street corner, shot in 1926. Of course, this is a gross inattention to historical detail, something I wouldn't have cared much about at the time. If I were doing this story now, Id find a much more Bauhaus-inspired building, to make the setting feel more like something out of a German silent film.

You can also tell I didn't care much for historical detail by the fact that I set this story in the fall of 1938, and everybody who cares about this kind of thing knows Batman first appeared on the cover of Detective Comics #27, May 1939.

Historical stories are almost always equally tedious and edifying, because they require a ton of research and image reference. If you fake it, especially on a story set in the 20th century, somebody somewhere will notice. And the devil is in the details, as they say.

HENRI MATISSE AND MR. CLIFFORD:

Dear Mr. Clifford:

I have always tried to hide my own efforts and wished my works to have the lightness and joyousness of a springtime which never lets anyone suspect the labors that it has cost. So I am afraid that the young, seeing in my work only the apparent facility and negligence in the drawing, will use this as an excuse for dispensing with certain efforts which I believe necessary.

The few exhibitions that I have had the opportunity of seeing during these last years make me fear that the young painters are avoiding the slow and painful preparation which is necessary for the education of any contemporary painter who claims to construct by color alone.
This slow and painful work is indispensable. Indeed, if gardens were not dug over at the proper time, they would soon be good for nothing. Do we not first have to clear, and then cultivate, the ground at each season of the year?

When an artist has not known how to prepare his flowering period, by work which bears little resemblance to the final result, he has a short future before him; or when an artist who has "arrived" no longer feels the necessity of getting back to earth from time to time, he begins to go round in circles repeating himself, until by the very repetition, his curiosity is extinguished.

The future painter must feel what is useful for his development-- drawing or even sculpture-- everything that will let him become one with Nature, identify himself with her, by entering into the things--which is what I call Nature--that arouse his feelings. I believe study by means of drawing is most essential. If drawing is of the Spirit and color of the Senses, you must draw first, to cultivate the spirit and to be able to lead color into spiritual paths. That is what I want to cry aloud, when I see the work of the young men for whom painting is no longer an adventure, and whose only goal is the impending first one-man show which will first start them on the road to fame.

It is only after years of preparation that the young artist should touch color-- not color as description, that is, but as a means of intimate expression. Then he can hope that all the images, even all the symbols, which he uses, will be the reflection of his love for things, as a reflection in which he can have confidence if he has been able to carry out his education, with purity, and without lying to himself. Then he will employ color with discernment. He will place it in accordance with a natural design, unformulated and completely concealed, that will spring directly from his feelings; this is what allowed Toulouse-Lautrec, at the end of his life, to exclaim, "At last, I do not know how to draw anymore."
The painter who is just beginning thinks that he paints from his heart. The artist who has completed his development also thinks that he paints from his heart. Only the latter is right, because his training and discipline allow him to accept impulses that he can, at least partially, conceal.

I do not claim to teach; I only want my exhibition not to suggest false interpretations to those who have their own way to make. I should like people to know that they cannot approach color as if coming into a barn door ("entrer au moulin"); that one must go through a severe preparation to be worthy of it. But first of all, it is clear that one must have a gift for color as a singer must have a voice. Without this gift one can get nowhere, and not everyone can declare like Correggio, "Anch in son pittore". A colorist makes his presence known even in a simple charcoal drawing.

Yours gratefully, Henri Matisse. Venice, February 14, 1948

--Excerpts from a letter written by Henri Matisse (1869-1954), to Mr. Henry Clifford, from a catalog from the Philadelphia Museum of Art: Henri Matisse Retrospective Exhibition Paintings, Drawings and Sculptures. I have a copy of this letter near my drawing table and read it once every few weeks.