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his works to the advantage of the strip giving the unfolding action a crazed madcap intensity right from the get go feininger took advantage of the week to week format of the newspaper strip to work in a fashion that was still unusual at the time a sustained serial narrative the kids brave a storm pie mouth s eating binges and an enormous fish before the action shifts to mysterious pete alerting aunt jim jam to their whereabouts castor oil in tow aunt jim jam and cousin gussie borrow a hot air balloon and the hunt is on the rest of the strip s brief run consists of the kids escaping first to england and then to russia the three have a spate of encounters with the locals in each country they play rugby race submarines and have competitions of strength with the british in russia they re taken captive by bomb wielding troops who still stung by the russo japanese war the previous year believe japansky to be a spy without fail aunt jim jam traveling by balloon boat or insane flying machine eventually shows up to terrorize the boys after a final gag involving pie mouth getting a sore tooth the strip ends as abruptly as it began the kids are mid adventure stranded in russia with aunt jim jam s arrival imminent no explanation is given for termination and no denouement allowed wee willie winkie s world feininger s second strip for the chicago tribune is no less strange bearing an obvious debt to mccay s little nemo the strip follows the titular character a young boy through a strange world of imagination unlike nemo however wee willie winkie expressly takes place in the real world although on two occasions it recounts the protagonist s dreams the magical and strange environment around which the whole of the action and story revolves is entirely a product of willie winkie s daydreams and confused perception everything surrounding him is anthropomorphized trees swaying in the wind become dancers stone houses acquire character wants and needs occasionally the fantasy is broken willie winkie nears an object he thought to be an elephant and sees it to be only a tree trunk but just as often his vision of the world is presented as fact thunder clouds are massive giants the size of the sky striding across the countryside water pumps are sleepy old gentlemen sputtering gouts of liquid when their ponytails are pulled while the art style o f wee willie winkie s world is quite similar to that of the kin der kids the format could not be more different the hallmark feverish action of the kin der kids is replaced by a calm meditative pace following willie winkie as he sleepily contemplates his surroundings the story in the kin der kids is told exclusively through dialogue and visual action and the strip is marked by a complete lack of third person narration wee willie winkie s world by contrast is composed entirely of it indeed the prose is separated entirely from the art and set below the panel frames this gives the impression of a children s book a mood feininger further reinforces by using type rather than the hand drawn text of the kin der kids there is no real story to speak of in wee willie winkie s world the only thread of narrative that exists is spent on following willie winkie as he ambles through his world the focus is squarely on the environment in terms of character design willie winkie bears some superficial resemblance to daniel webster he possesses an unusually furrowed brow and is clad in a similar outfit the black of daniel webster s clothes however is replaced by a childish blue and willie winkie s features are open and engaged where daniel webster is always facing inwards and down forever lost in his books willie winkie is only interested in the world around him aside from willie winkie the only other real character in wee willie winkie s world is feininger himself the reader is meant to interpret the narration as a story originally told to feininger by willie winkie retold to them through the comic he appears only once in the strip almost hidden in the corner of a panel having accompanied his creation on a trip to an outcropping of seaside cliffs he is a tall thin figure dwarfing willie winkie s small frame as he sketches a panorama the boy points out to him wee willie winkie s world above all demonstrates the total mastery feininger possessed in the art of caricature the artist had spent the 17 years previous working as an increasingly celebrated caricaturist for german and american magazines including harper s round table humoristische blätter and ulk in wee willie winkie s world this skill is used to great effect an astonishing variety of faces burst from every possible place from dour locomotives to shivering and nervous poplar trees other stylistic influences abound wee willie winkie s world is structured along symmetrical grids with big soaring panels in their gutters most frequently to break up the narration along the bottom but also occasionally between the panels themselves feininger inserts beautiful and bizarre ornamentations these take the form of trees leaves medusa like heads grinning jesters and heavenly bodies their place in the composition of the page is obviously influenced by art nouveau but feininger replaces the flowing curves of that style with his trademark chunky angles and geometric forms a red eyed mouse frolicking in the gutter of a strip otherwise concerned with willie winkie s take on a windmill is strongly reminiscent of japanese woodblock prints in one strip the ornamentations even bear a striking resemblance to mondrian and de stijl as that movement had yet to be born however it can be assumed that these exercises in color and line are feininger s own experimentations although he d worked in illustration and caricature for years feininger came to comics through a chance opportunity and left them much the same way he was born in 1871 in new york city to german speaking parents he possessed a childhood fascination for steamboats and locomotives that would leave its mark on both his comics and fine art and showed an early aptitude for drawing while he wouldn t create comics until the age of 35 he was influenced in his childhood by american cartoonists and the margins of the letters he wrote as a young man to his friend and fellow artist alfred vance churchill are filled with expressive and expertly rendered cartoon sketches feininger left america for germany in 1888 to attend art school and adopted the land of his parents as his own for the next decade and a half he sold caricatures to humor magazines often chafing against the demands of his editors meanwhile back in america newspaper comics were experiencing a golden age in 1905 when windsor mccay was tapped to demonstrate the artistic potential of sunday comics with little nemo in the pages of the new york herald other newspapers took note amongst them was james keeley editor of the chicago tribune deciding not to be outdone and wanting to appeal to chicago s large german population keeley traveled to berlin in february of 1906 to procure the services of a bevy of german cartoonists for his full color sunday pages feininger met keeley and seduced by the promise of a steady income of 24 000 marks for his services agreed to produce the two weekly strips for the tribune problems began almost immediately the vibrancy and joy of the kin der kids and wee willie winkie s world disguised a troubled relationship between feininger and the editorial staff the tribune had wanted a strip to compete with the katzenjammer kids repetitive joke a week format but the kin der kids fever dream of a sustained narrative immediately derailed their plans circulation dropped the cartoonists were blamed and the kin der kids was axed with wee willie winkie s world replacing it this did little to staunch the bleeding and by winter of that year feininger was gone from the pages of the chicago tribune and gone from comics forever the exact circumstances surrounding his departure remain somewhat mysterious some sources cite a personal dispute between feininger and the tribune s editors others point to the burden of producing detailed weeklies as proving too much for the artist while others place the blame on feininger s unwillingness to move back to america regardless of the details of his dismissal feininger s greatest fame lay ahead of him although he achieved his highest heights in other artistic mediums it is truly a pity that his comic output is so small in the single year he was active he established a more unique style and world than those that many cartoonists spend lifetimes creating sources thompson kim the comic strip art of lyonel feininger seattle wa fantagraphics 2007 lyonel feininger oregon state university cartoon library museum website 6 oct 2010 markstein don lyonel feininger don markstein s toonopedia 6 oct 2010 alfred vance churchill papers regarding lyonel feininger 1888 1944 smithsonian archives of american art 6 oct 2010 lyonel feininger on artnet artnet 6 oct 2010 the above essay is 2010 andy warner all rights reserved it is posted with permission ________________________________________ about the author student andy warner has a few online outposts here is his website here is a sampler of andy s comics work and here is andy s blog give them all a look see further reading resources the lyonel feininger digital album is highly recommended comprised of images from the san francisco academy of comic art collection which was acquired by the ohio state university cartoon research library from bill blackbeard in 1997 click this link you can purchase your own copy of the comic strip art of lyonel feininger the kin der kids and wee willie winkie s world at amazon com here s the current availability 1 comment posted in historic tagged andy warner chicago tribune lynonel feininger survey of the drawn story i essay the kin der kids wee willie winkle s world survey 1 comic strip essays katie moody on winsor mccay s dream of the rarebit fiend posted on 10 22 2010 by srbissette 6 comments note this is the first in a series of essays written by the current class of 2012 for survey of the drawn story i ccs s comics history class they are posted here in approximate chronological order of when their chosen subjects comic strips were either first published or in their heyday these were class assignments and should be enjoyed in that context these are not necessarily indicative of the work the individual artists writers would do in paid professional venues this is work assigned in class with a tight deadline completed while juggling many other class assignments that said it is all of high caliber or we would not be sharing it with you here enjoy unless otherwise noted any image captions or comments in brackets like this were added by the survey i instructor stephen bissette to enhance this public post as were the author info and further reading notes after the essay and author s footnotes all illustrations in this particular post were added by the instructor winsor mccay dream of the rarebit fiend this march 8 1905 installment of rarebit fiend inspired mccay s 1921 animated film the pet the first ever giant monster attacking a city motion picture ever made thus mccay and dream of the rarebit fiend was arguably the wellspring for immortals like king kong and godzilla ________________________________________________ strip analysis winsor mccay s dreams of the rarebit fiend by katie moody ccs class of 2012 the first sixty strips of dream of the rarebit fiend as collected by frederick a stokes in 1905 and recollected by dover publications in 1973 cover pictured at left are a hallucinatory window into the 1905 adult s subconscious as a pioneer of the nascent storytelling medium that modern readers would recognize as comics winsor mccay in particular represents a bridge between static classic illustration and the more flexible faster paced nature of comics storytelling a change itself enabled by advances in printing technology his sophisticated themes visual tropes and other stylistic bids for sequential art s legitimacy all readily apparent in this mere seven percent of the strip s run remain relevant to comics enthusiasts today following at least ten earlier newspaper strips from mccay with his more lighthearted little sammy sneeze and hungry henrietta among them dream of the rarebit fiend stands out as a series of grand experiments its target audience is adult readers the laws of reality and reason apply only to the final panel the themes are more mature the protagonist almost always an adult changes with each installment and the entire blossoming field of psychoanalysis freud s seminal interpretation of dreams was published only five years prior is mccay s playground deep rooted desires primal fears and social anxieties the latter represented by dreamt inept encounters with peers who deliver with straight matter of factness what readers would immediately recognize as gleeful absurdities frequently imperil the rarebit fueled sleeper and these fever dream themes are so universal and relatable that many of the scenarios metaphors and visuals are still compelling over a century later mccay s accomplished dream illustrations with his characteristic strict perspective lush detail and trendy art nouveau influences in line weights are obvious attempts to appeal to turn of the century sensibilities mccay was a woodcut illustrator first and so upon switching professional gears to creating newspaper strips he must have been well aware of engaging in a popular art form almost by definition ubiquitous embraced by the public and dismissed by critics while he was pragmatic enough to find such profitable venues for his creative experiments as print and especially with his animation milestone gertie the dinosaur vaudeville the work itself has a level of craft and technical integrity that is inarguable to modern eyes now that mccay s later strip little nemo in slumberland is universally recognized as an early comics masterpiece and dream of the rarebit fiend is an obvious precursor to nemo in both subject and content it is clear that mccay took the entire rarebit endeavor seriously in spite of all the wild experimentation even the angles and placement of the dialogue text are toyed with as seen in strips forty three to forty five on pages 45 47 a word balloon twists up along the wake of its tossed speaker above right angry and indignant retorts swirl around the chaos of a physical altercation left and even the oh oh oh oh of a sideways flattened commuter is placed on end below the reading experience was mccay s to toy with manipulate and consciously attempt to control perhaps his testing and invention in the medium was further bolstered by the use of a pseudonym silas employed for contract reasons so why does this strip have such longevity and an immediacy that enchants new readers to this day in spite of the 1905 collection s claims to the contrary rarebit itself is unnecessary ...
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