- Guido Crepax Valentina Pdf
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- Guido Crepax Valentina
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- Guido Crepax Guido Crepax was an Italian comic artist and illustrator, known for his depictions of elaborate and aesthetic erotic fantasies. Nicknamed the 'Raphael of Comics', his stories featured heroines such as Belinda, Bianca, Emmanuele and, his signature character, Valentina (1965-1995).
- Valentina, the sophisticated Milanese photographer pursued relentlessly by sadistic Nazis, astronauts, 17th-century pirates, and leather-booted Czarist Cossacks, made her first appearance in the spring of 1965 appearing in the second issue of Linus, an Italian magazine devoted to comic-strip art to which friends asked Crepax to contribute.
- Valentina is an Italian erotic thriller television series that originally aired on Italia 1 from September 29 to December 22, 1989. It is based on the Valentina comics series by Italian artist Guido Crepax.
Valentina di Guido Crepax, Milano. 16,234 likes 93 talking about this. Pagina ufficiale, creata dall' Archivio Guido Crepax©.
Scott Eder Gallery is incredibly excited to bring the art of Guido Crepax (Milan, 1933-2003) to the United States for the very first time. Though for many years out of print in English, Italy’s Crepax and his female creation, Valentina, are widely known and beloved in European comics.
Seamlessly weaving eroticism, fashion, music and film, Crepax began his comics career in the early 1960s, as the Italian art and comics world moved away from censorship and modesty and towards the expression of sexual freedom. Despite a degree in architecture, Crepax's earliest jobs were in graphics and advertising, from magazines, book design, and album illustrations, to stage sets and consumer design.
But Crepax is best known for his comic book heroine, Valentina, based on his fascination with silent screen star Louise Brooks. Though she was created in 1965, Valentina has an “actual” birthdate -- December, 25, 1942 – and ages throughout her life on the page, in Crepax's characteristic kinetic and cinematic panel stylings. Strong and independent, yet sensual, Valentina works as a fashion photographer in Milan, though for the reader she lives somewhere between reality and fantasy, often succumbing to erotic and surrealist dreams and visions.
Valentina stories have been printed and reprinted throughout the decades, though they can be frustratingly hard to find in English. Crepax's later creations, starring erotic heroines such as Anita, Belinda, Bianca... and his monster stories involving Frankenstein, Dracula, and Jekyll and Hyde are still more elusive here in the States, making the Scott Eder Gallery's exhibition incredibly significant. More than fifty pages of seminal Crepax illustrations from Valentina --and from most of his major books-- will be on display through April 22nd.
All images below can be enlarged with complete information. [Contact gallery for availability and pricing]
Originals are all fully FRAMED and the majority are 14.75 x 20' [cm 36 x 51], pen and ink on cardstock, unless otherwise stated.
Creation date listed if notably distinct from publication date.
Guido Crepax Valentina Pdf
1030orientation 1camerasoftware Adobe Photoshop CS3 Dracula, 1983Conte Dracula | 1983 | First published in <i>Conte Dracula</i>, Milano Libri Edizioni, 1987 [published in US by NBM, 1995] | $ 8,500 originaldate 1/1/0001 6:00:00 AMheight 1431width 1032orientation 1camerasoftware Adobe Photoshop CS3 Dracula, 1983Conte Dracula | 1983 | First published in <i>Conte Dracula</i>, Milano Libri Edizioni, 1987 [published in US by NBM, 1995] | $8,500 originaldate 1/1/0001 6:00:00 AMheight 1434width 1026orientation 1camerasoftware Adobe Photoshop CS3 Dracula, 1983Conte Dracula | 1983 | First published in <i>Conte Dracula</i>, Milano Libri Edizioni, 1987 [published in US by NBM, 1995] | $ 8,500originaldate 1/1/0001 6:00:00 AMheight 1436width 1032orientation 1camerasoftware Adobe Photoshop CS3 Dracula, 1983Conte Dracula | 1983 | First published in <i>'Conte Dracula</i>, Milano Libri Edizioni, 1987 [published in US by NBM, 1995] | $8,500originaldate 1/1/0001 6:00:00 AMheight 1434width 1026orientation 1camerasoftware Adobe Photoshop CS3 Frankenstein Cover, 1999Frankenstein di Mary Shelley; Cover | 1999 | First published in <i>Frankenstein</i>, Grifo Edizioni, Grumo Nevano, 2002 | $18,000originaldate 1/1/0001 6:00:00 AMheight 1413width 985orientation 1camerasoftware Adobe Photoshop CS3 Frankenstein, 1999Frankenstein di Mary Shelley | 1999 | First published in <i>Frankenstein</i>, Grifo Edizioni, Grumo Nevano, 2002 | $10,500originaldate 1/1/0001 6:00:00 AMheight 1423width 1028orientation 1camerasoftware Adobe Photoshop CS3 Frankenstein, 1999Frankenstein di Mary Shelley | 1999 | First published in <i>Frankenstein</i>, Grifo Edizioni, Grumo Nevano, 2002 | $ 9,500originaldate 1/1/0001 6:00:00 AMheight 1418width 1029orientation 1camerasoftware Adobe Photoshop CS3 Frankenstein, 1999Frankenstein di Mary Shelley | 1999 | First published in <i>Frankenstein</i>, Grifo Edizioni, Grumo Nevano, 2002 | $ 8,500originaldate 1/1/0001 6:00:00 AMheight 1417width 1028orientation 1camerasoftware Adobe Photoshop CS3 L’Uomo di Harlem , 1978L’Uomo di Harlem | 1978 | FIrst published in the series <i>Un Uomo, Un’avventura</i> by Bonelli Editore, Milano, 1979 [published in US by Catalan Communications, NY, 1987] | $8,500originaldate 1/1/0001 6:00:00 AM
height 1439width 1033orientation 1camerasoftware Adobe Photoshop CS3 L’Uomo di Harlem , 1978L’Uomo di Harlem | 1978 | FIrst published in the series <i>Un Uomo, Un’avventura</i> by Bonelli Editore, Milano, 1979 [published in US by Catalan Communications, NY, 1987] | $8,500originaldate 1/1/0001 6:00:00 AMheight 1437width 1027orientation 1camerasoftware Adobe Photoshop CS3 Il Sogno della Moda, 1988Il Sogno della Moda |1988 | Colored pen and ink on paper | First published in the weekly <i>Espresso Più</i>, by Editoriale L’Espresso, Rome, 1988 | $18,000originaldate 1/1/0001 6:00:00 AMheight 1429width 1010
orientation 1camerasoftware Adobe Photoshop CS3 Valentina: La Discesa, 1966Valentina: La Discesa | 1966 | First published in <i>Valentina in Giallo</i> by Milano Libri Editore, 1976 | $9,500originaldate 1/1/0001 6:00:00 AMheight 1432width 1027orientation 1camerasoftware Adobe Photoshop CS3 L’Astronave Pirata, 1967L’Astronave Pirata | 1967 | First published by Rizzoli Editore, Milan, 1968 | $9,500originaldate 1/1/0001 6:00:00 AMheight 1435width 1026orientation 1camerasoftware Adobe Photoshop CS3 L’Astronave Pirata, 1967L’Astronave Pirata | 1967 | First published by Rizzoli Editore, Milan, 1968 | $9,500 originaldate 1/1/0001 6:00:00 AMheight 1428width 1026orientation 1camerasoftware Adobe Photoshop CS3 Un Poco LocoUn Poco Loco | 1966 | First published in 'Valentina in Giallo' by Milano Libri Editore, 1976 | $ NO PRICEoriginaldate 1/1/0001 6:00:00 AMheight 1433width 1027orientation 1camerasoftware Adobe Photoshop CS3 Un Poco LocoUn Poco Loco | 1966 | First published in 'Valentina in Giallo' by Milano Libri Editore, 1976 | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1436width 1030orientation 1camerasoftware Adobe Photoshop CS3 Lettere a Louise BrooksLettere a Louise Brooks; 1 page story | 1976 | First published in 'Le Portrait Fragmenté,' Aedena Editions, Dargaud, Paris, 1986 | $ 9000eurosoriginaldate 1/1/0001 6:00:00 AMheight 1438width 1028orientation 1camerasoftware Adobe Photoshop CS3 NOTHING ... 1983?originaldate 1/1/0001 6:00:00 AMheight 1434width 1030orientation 1camerasoftware Adobe Photoshop CS3 NOTHINGoriginaldate 1/1/0001 6:00:00 AMheight 1433width 1029orientation 1camerasoftware Adobe Photoshop CS3 NessunoNessuno | 1988 | First published by Rizzoli Milano Libri, 1990 | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1435width 1032orientation 1camerasoftware Adobe Photoshop CS3 NessunoNessuno | 1988 | First published by Rizzoli Milano Libri, 1990 | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1433width 1033orientation 1camerasoftware Adobe Photoshop CS3 Funny Valentine: New OrleansFunny Valentine: New Orleans Function [1] | 1967 | First published in 'Ritratto di Valentina' by Rizzoli Editore, Milano, 1979 | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1437width 1012orientation 1camerasoftware Adobe Photoshop CS3 Funny Valentine: New OrleansFunny Valentine: New Orleans Function [2] | 1967 | First published in 'Ritratto di Valentina' by Rizzoli Editore, Milano, 1979 | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1435width 1022orientation 1camerasoftware Adobe Photoshop CS3 Ciao ValentinaCiao Valentina | 1966 | 'I libri di Linus: Ciao Valentina,' Milano Libri Edizioni, 1972 | First American Ed: 'Valentina, Volume 1' [Eurotica, NBM Publishing Co, New York, 1994] | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1431width 1028orientation 1camerasoftware Adobe Photoshop CS3 Ciao ValentinaCiao Valentina | 1966 | 'I libri di Linus: Ciao Valentina,' Milano Libri Edizioni, 1972 | First American Ed: 'Valentina, Volume 1' [Eurotica, NBM Publishing Co, New York, 1994] | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1435width 1028orientation 1camerasoftware Adobe Photoshop CS3 Ciao ValentinaCiao Valentina | 1966 | 'I libri di Linus: Ciao Valentina,' Milano Libri Edizioni, 1972 | First American Ed: 'Valentina, Volume 1' [Eurotica, NBM Publishing Co, New York, 1994] | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1435width 1032orientation 1camerasoftware Adobe Photoshop CS3 Ciao ValentinaCiao Valentina | 1966 | 'I libri di Linus: Ciao Valentina,' Milano Libri Edizioni, 1972 | First American Ed: 'Valentina, Volume 1' [Eurotica, NBM Publishing Co, New York, 1994] | $ 8500eurosoriginaldate
1/1/0001 6:00:00 AMheight 1434width 1028orientation 1camerasoftware Adobe Photoshop CS3 RiflessoRiflesso (COVER? pg 1?) | 1974 | FIrst published in 'Diario di Valentina,' Milano Libri Edizioni, 1975 [First published in US in 'Heavy Metal,' 1980] | $ 9000eurosoriginaldate 1/1/0001 6:00:00 AMheight 1435width 1031orientation 1camerasoftware Adobe Photoshop CS3 RiflessoRiflesso| 1974 | FIrst published in 'Diario di Valentina,' Milano Libri Edizioni, 1975 [First published in US in 'Heavy Metal,' 1980] | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1434width 1027orientation 1camerasoftware Adobe Photoshop CS3 Valentina, I SotterraneiValentina, I Sotterranei, 'Gli Ussari della Morte' [intro story], page 10 | 1968 | First published in 'Valentina' by Milano Libri Edizioni, 1968 | $ unpricedoriginaldate 1/1/0001 6:00:00 AMheight 1438width 1031orientation 1camerasoftware Adobe Photoshop CS3 Valentina, I SotterraneiValentina, I sotterranei | 1968 | First published in 'Valentina' by Milano Libri Edizioni, 1968 | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1431width 1034orientation 1camerasoftwareGuido Crepax Valentina Spacesuit
Adobe Photoshop CS3 Valentina, I SotterraneiValentina, I sotterranei | 1968 | First published in 'Valentina' by Milano Libri Edizioni, 1968 | $ 9000eurosoriginaldate 1/1/0001 6:00:00 AMheight 1438
width 1032orientation 1camerasoftware Adobe Photoshop CS3 U, Come UomoU, Come Uomo | 1970 | First published in 'Ritratto di Valentina' by Milano Libri Edizioni, 1979 | $ 7500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1429width 1030orientation 1camerasoftware Adobe Photoshop CS3 UU, Prologue | 1975 | First published in 'Ritratto di Valentina' by Milano Libri Edizioni, 1979 | $ 7500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1430width 1035orientation 1camerasoftware Adobe Photoshop CS3 Alla Ricerca dei Vestiti Perduti di KriziaAlla Ricerca dei Vestiti Perduti di Krizia [Valentina] | 1995 | First published in 'Krizia' by Leonardo Arte Editore, Milano, 1995 | $ 8500eurooriginaldate 1/1/0001 6:00:00 AMheight 1434width 1014orientation 1camerasoftware Adobe Photoshop CS3 Valentina IntrepidaValentina Intrepida | 1972 | First published in <i>Diario di Valentina</i> Milano Libri Edizioni, 1975 | $ 8500 eurosoriginaldate 1/1/0001 6:00:00 AMheight 1433width 1031orientation 1camerasoftware Adobe Photoshop CS3 Valentina IntrepidaValentina Intrepida | 1972 | First published in <i>Diario di Valentina</i> Milano Libri Edizioni, 1975 | $ 9000 eurosoriginaldate 1/1/0001 6:00:00 AMheight 1433width 1019orientation 1camerasoftware Adobe Photoshop CS3 Valentina: Vita PrivataValentina: Vita Privata | 1975 | First published in <i>Diario di Valentina</i> by Milano Libri Edizioni, 1975 | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1439width 1017orientation 1camerasoftware Adobe Photoshop CS3 Valentina: Vita PrivataValentina: Vita Privata | 1975 | First published in <i>Diario di Valentina</i> by Milano Libri Edizioni, 1975 | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1434width 1010orientation 1camerasoftware Adobe Photoshop CS3 Valentina: Vita PrivataValentina: Vita Privata | 1975 | First published in 'Diario di Valentina' by Milano Libri Edizioni, 1975 | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1439width 1014orientation 1camerasoftware Adobe Photoshop CS3 Valentina: Vita PrivataValentina Crepax Morta
Valentina: Vita Privata | 1975 | First published in <i>Diario di Valentina</i> by Milano Libri Edizioni, 1975 | $ 8500eurosoriginaldate 1/1/0001 6:00:00 AMheight 1433width 1011orientation 1camerasoftware Adobe Photoshop CS3 Anita, cover (front)Anita in Diretta, Cover | 1988 | First Italian edition: Olympia Press, Milan, 1988 [1st US edition: NBM, 1991] | $ originaldate 1/1/0001 6:00:00 AMheight 620width 500orientation 1camerasoftware Adobe Photoshop CS3 Anita, cover (reverse)??originaldateValentina Crepax Serie Tv
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SHRDSH!!! Deliriums and Desires…
by Stefan Prince,
an article written in the spring of 2000 and
published in Skin Two magazine #33
bande dessinée or …”dessin qui bande”? (Roland Barthes)
Once upon a time in a North London book shop, long before its management became politically correct about its stock, Story of O by Italian comic strip wizard Guido Crepax could for a short while be purchased as a classy hardcover coffee table edition in French from publisher Jean Jacques-Pauvert.
Lucky were the keen-eyed of the day for, alas poor Crepax, with the banning of the film by the UK censors such luxuries were denied the would-be fetishist who was then forced to endure the lean years in which Crepax’s comic strip Story of O and other graphic novels such as Venus In Furs surfaced only occasionally in Soho book shops in rather less than classy US imports. Indeed the Grove Press paperback of Story of O had a total of 34 pages missing from the original, due seemingly to economic rather than moral censorship.
Valentina Crepax Poster
But now the lean years are over. Would-be-Crepax fans can at last pore over the full-monty of this unique “Raphael of Comics” thanks to the Evergreen imprint of publishers Taschen who have delivered two deluxe hardback editions in English comprising Venus in Furs/ Bianca/ Emmanuelle, and Justine/Story of O
Will the waiting be found worthwhile? For the Crepax fan yes, but for the general reader perhaps not. Comics have moved on at a pace and though Crepax’s line will still startle and impress his style harks back to his own ground-breaking period in which during the late sixties in France Jean Claude Forest unleashed Barbarella (1964) into pop culture and in Italy Guido Crepax set about completely restructuring the comic strip per se with the help of his very own ‘damsel in distress’ – Valentina.
Valentina will be seen to have been Crepax’s greatest contribution to cartoon literature and though conspicuous by her absence Valentina casts a shadow over both Taschen volumes, for the trappings of bondage and pure fantasy, half oneiric and half hallucinatory to be found throughout these later graphic novels, were unmistakably there already in early Valentina.
Valentina, the sophisticated Milanese photographer pursued relentlessly by sadistic Nazis, astronauts, 17th-century pirates, and leather-booted Czarist Cossacks, made her first appearance in the spring of 1965 appearing in the second issue of Linus, an Italian magazine devoted to comic-strip art to which friends asked Crepax to contribute. Crepax was thirty-two when he created Valentina, a late-comer perhaps, but certainly by then an experienced draughtsman. At twenty-five, he had graduated from the University of Milan with a degree in Architecture. Publicity work followed for companies such as Shell, Dunlop, Terital, and Fujica, then for several years Crepax supported himself by illustrating book covers and record sleeves, particularly for jazz recordings, and by contributing illustrations to magazines such as the medical journal Tempo Medico.
It was Valentina which proved for Crepax the potentiality of cartoon literature or ‘fumetti’, an art form he had previously attempted when as a young evacuee during World War Two in Venice he had read and loved the American cartoon strips Mandrake and Flash Gordon. “My first cartoon,” he recalls, “I did when I was twelve and it was called The Invisible Man, and it obviously followed very closely the film of the same name. I put everything together on my own, the screenplay as it were, the writing and the drawings…” Twenty years later Crepax set about creating his cartoon strip for Linus with the same attention to planning, storyline, lettering, and framing, inventing his own male superhero Neutron, “with the magnetic eyes of Mandrake and the physical build of the traditional Man In the Mask.” Gradually Neutron disappeared from the story. It was almost by chance and without premeditation that the true protagonist would prove to be Valentina, “the incarnation of Louise Brooks, the masochistic dreamer, the all-powerful photographer, the most beautiful androgyne with the most beautiful backside in the world”.
In a series of extravagant and often surreal adventures, Valentina would soon know the rages of bisexuality, autoerotic ecstasy, super-sensual abandon, and the sadomasochistic delirium. Her body given up without inhibition, fragmented on the page and scrutinized in minute detail in a style of syncopated editing which reminded critics of the French films of the sixties, the nouvelle vague, – Valentina would now scandalize many readers in Italy and abroad and be the inspiration for a series of similar sexy and captivating heroines who would keep Crepax busy at his drawing board for years to come.
Acknowledging the daring nature of his comics Crepax maintains his adult audience must be capable of seizing the ambiguities behind appearances, distinguishing the true fantasies from stark reality. “So if I have drawn whips, chains, bonds of every kind,” he says, “even if I have reproduced in my pictures the most audacious bold erotic perversions, I, in fact, hate violence and lack of respect towards oneself and to others, and all forms of excess. The extraordinary things that my poor young girls in love undergo – Valentina, and Bianca, Anita and Justine, Emmanuelle and Madame O – have nothing to do with the treatises on sexual psychopathology of Richard von Krafft-Ebing: they are only visionary exercises, imaginary madness transferred onto paper, deliriums, desires ruled by a purely cerebral mechanism… what interests me more than anything else is that the game never becomes obscene, that it is never trapped by vulgarity. Have a look at them, the girls on display… however they might be bound, frustrated, constrained, imprisoned, compressed or struck… there is never one single drop of blood. The blow on their skins in the end never leaves more of a mark than a firm embrace.”
Guido Crepax Valentina
The erotic intrigues and embraces which torment Valentina are of course by necessity, almost always nothing more than dreams, oneiric projections, surreal adventures beyond the real. Sometimes her son Matia’s comic books are a starting point for a daydream adventure. In one tale Crepax pays homage to his mentors by portraying Valentina in the style of Hugo Pratt, Milton Caniff, Alex Raymond, Stan Lee, and even John Willie, and introduces the comic book heroes of his childhood, Dick Tracy, Tarzan, Prince Valiant and Mandrake, into the storyline.
Time and again Crepax reinvents the layout of his page and in story-board fashion, the pictures tell the story almost to the exclusion of traditional balloon-enclosed dialogue. In the Valentina story, Magic Lantern dialogue is in fact dispensed with altogether.
It could be said that Valentina, described by Graziano Frediani as “the allegory of a need, a mirror in fragments, the mark left from a laceration…” has in Crepax’s Story of O become Madam O, the plaything of the valets and members of the Roissy mansion, of her lover René who takes her there, and of Sir Stephen who claims ownership by having O branded with his initials. The story unfolds like an adult fairy tale, familiar territory for Crepax. With consummate skill, he takes every opportunity presented by this sadomasochistic literary classic to busy his pages with all manner of menace, stylized violence, eroticism, and sex. Whips, masks, erect penises, rounded breasts, and marked buttocks proliferate. Wilinsky, the French illustrator said Crepax drew the best ass of any comic strip artist and certainly that part of O’s anatomy comes in for its full share of cruel treatment in Story of O.
The critic Ghera has pointed out, “The body of O, in addition to the brutalized level of the narrative fable, is freely manipulated in accordance with a scheme which is obsessively geometrical: the heroine is often on her knees or displayed systematically at an angle, a square or another angle; or otherwise here the image is broken up into different parts as if it were pieces of mosaic…” This mosaic is the “mirror in fragments” and Crepax breaks down the narrative into little boxes in which we see the sphincter or the vagina, or the open mouth of the heroine forming a perfect “o”. But here and there this rigid geometry is under threat of collapse, of being sucked into some threatening void which is about to open up in the background, amongst the clutter of opulent furnishings, drapes or architecture.
We are reminded that the progression from Valentina! (1965 – ) through Bianca (1968/71), Anita (1979), to ever more sophisticated Valentina, and eventually to Story of O (1973, 1974 & 1984/5), Emmanuelle (1978), Sade’s Justine (1979), and Sacher-Masoch’s Venus in Furs (1983) was inevitable. This “weaver of innocent plots” is indeed, as Frediani describes Crepax, “a hunter of butterflies”. Crepax points out, “From the point of view of eroticism it’s the atmosphere, the situation, which gives the scene its eroticism.” Valentina, Bianca, O are the victims of the most barbaric treatment always amidst splendid and baroque backgrounds. Pursued through labyrinthian perils, raped, whipped, and entangled in all manner of bizarre Heath-Robinson-like torture machines, they always emerge, however, Pheonix-like from their ordeals.
As Paolo Caneppele and Gunter Krena point out in their introduction to Venus in Furs /Bianca / Emmanuelle, ‘Ineffable as desire may be, it can nonetheless be represented’. Crepax leaves an indelible impression. Take a look at these long-awaited volumes from Taschen. These “innocent plots”, of butterflies pursued. You might either adore him or loathe him but without a doubt, there will never be another comic book artist quite like Guido Crepax. He has no imitators, no “Crepax tradition” – ‘My way of telling stories,’ maintains Crepax, ‘is so remote from tradition that young artists – rightly, I confess – choose other models. I have no desire to serve as a model. My universe is truly my own.’
(spring 2000/ published in Skin Two no.33)
Guido Crepax (1933 – 2003)
2020 Update: The publishers Fantagraphics Books have set out to publish in the English language, the complete works of Crepax, an amazing undertaking.