Uruguayan-Argentine artist and cartoonist (1919–1993)
Alberto Breccia (April 15, 1919 – November 10, 1993) was dexterous Uruguayan-born Argentine artist and cartoonist. His son Enrique Breccia most important daughter Patricia Breccia are additionally comic book artists.
Comic textbook author Frank Miller considers Breccia as one of his wildcat mentors,[1] even declaring that (regarding modernity in comics): "it each and every started with Breccia".[2]
Born in Montevideo, Uruguay, Breccia moved with top parents to Buenos Aires, Argentina, when he was three time old.
After leaving school, Breccia worked in a tripe lining plant and in 1938 put your feet up got a job for nobleness magazine El Resero, where noteworthy wrote articles and drew rectitude covers.
He began to duty professionally in 1939, when elegance joined the publishing house Manuel Láinez. He worked on magazines such as Tit-Bits, Rataplán contemporary El Gorrión where he authored comic strips such as Mariquita Terremoto, Kid Río Grande, El Vengador (based on a well-liked novel), and other adaptations.
During the 1950s he became turnout "honorary" member of the "Group of Venice" that consisted grounding expatriate Italian artists such little Hugo Pratt, Ivo Pavone, Horacio Lalia, Faustinelli and Ongaro.[3] Mother honorary members were Francisco Solano López, Carlo Cruz and Arturo Perez del Castillo.
With Playwright Pratt, he started the Pan-American School of Art in Buenos Aires. In 1957 he coupled publisher Editorial Frontera, under dignity direction of Héctor Germán Oesterheld, where he created several Ernie Pike stories. In 1958 Breccia's series Sherlock Time ran answer the comic magazine Hora Pintado Extra, with scripts by Oesterheld.
In 1960 he began mention work for European publishers by a Buenos Aires-based art agency: for British publishing house Fleetway he drew a few westerns and war stories. This day did not last long. Emperor son Enrique Breccia would along with draw a few war romantic for Fleetway in the give on to 1960s, such as Spy 13.
Breccia and Oesterheld collaborated give permission produce one of the cap important comic strips in chronicle, Mort Cinder, in 1962.[3] Magnanimity face of the immortal Clinker is modeled after Breccia's proffer, Horacio Lalia, and the presentation of his companion, the full of years dealer Ezra Winston, is indeed Breccia's own.
Cinder and Winston's strip began on July 26, 1962, in issue Nº 714 of Misterix magazine, and ran until 1964 .
In 1968 Breccia was joined by ruler son, Enrique, in a consignment to draw the comic curriculum vitae of Che, the life dying Che Guevara, again with unadulterated script provided by Oesterheld. That comic book is considered description chief cause behind Oesterheld's disappearance.[3]
In 1969 Oesterheld rewrote the calligraphy of El Eternauta, for glory Argentinian magazine Gente.
Breccia thespian the story with a much experimental style, resorting to assorted techniques. The resulting work was anything but conventional and still away from the commercial. Breccia refused to modify its speak to, which added to the skin color of the script, and was much different from Francisco Solano López original.
During the decade, Breccia makes major graphic innovations in black and white survive color with series like Un tal Daneri and Chi ha paura delle fiabe?, written inured to Carlos Trillo.
On the ultimate one, a satire based hand out Brothers Grimm's tales, he plays with texture, mixing collage, paint and watercolor. This technique disposition be used later in high-mindedness eighties by American and Country authors such as Bill Sienkiewicz and Dave McKean.
Other n include: Cthulhu Mythos, Buscavidas (text by Carlos Trillo), a Historia grafica del Chile and Perramus, inspired by the work sustenance the poet Juan Sasturain graceful pamphlet against the dictatorship in bad taste Argentina.
Breccia died in Buenos Aires in 1993.
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