More scans from the paperback library of yours truly:

To view all of the paperback and other covers with art by Jeffrey Jones that I’ve posted so far, click here. And fair warning: I still have a few more left to scan!

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Producer/Director Maria Cabardo needs $15,000 to complete her documentary on Jeffrey Catherine Jones, and you can help:

ABOUT THIS PROJECT

The documentary features not only comic book artists but other comics industry professionals as well. Jones’s life and work are the highlights, but the effects of art — on an individual, on society, and as a business — are also discussed. How important and influential is art? Can it really save a person’s life, as its practitioners claim? How did it evolve from pure decoration to a commercial commodity? All of these questions will be examined as we explore the world of Jeffrey Jones. The story of art is, in the end, the story of artists, and the whole can also be seen in its parts.

The movie is currently in post-production, most of the funding will go to the expenses incurred during this stage.

For more information, check out the Director’s blogsite at macabfilms.com.

Or better, click here to view the Kickstarter page.

This “Kickstarter” project will only be funded if at least $15,000 is pledged by Tuesday Feb 8, 9:09 pm EST. Minimum pledge is a buck, but if you pledge $50 or more you’ll receive a “Special Limited Edition DVD and Movie Poster” after the movie has been released. As of yesterday, with 56 days to go, a grand total of 10 backers had pledged $582. Today, with 55 days to go, 11 backers (10 plus yours truly) have pledged $632. It’s a hell of a long way to $15,000, but with enough publicity, the project might attract enough supporters to reach the finish line. Thus, this post.

P.S. Speaking of how one should go about publicizing one’s fundraising efforts, I have to say, the people at MaCab films aren’t helping themselves with their blog. The most recent post on the first page of the blog is dated May 29, 2009! Where’s the information about their Kickstarter project? Nowhere to be seen. Where should it be? Front and centre from now until February 8, 2011. Yes, some of the formal sub-pages have more recent material, but that’s not the way to get attention on a blog. Post on the front page, and post often. Let your personality and enthusiasm show. Make someone associated with the project available for interviews on comics, illustration, and art sites, and publicize those interviews on your blog. Include images with every post. And last but not least, do as I say, not as I do!

UPDATE (14 January 2011):

With 24 days to go, 26 backers have pledged $1,443 of the above project’s $15,000 goal. If the goal is not reached, the project receives nothing, and time is quickly running out.

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Here are three more covers with art by Jeffrey Jones, scanned from the copies I have on hand at RCN headquarters here in the Queen City and posted below in order of publication:

You can see the photo reference for the first cover — which, in terms of draughtsmanship and painting technique, I would describe as the weakest of the three, though I do find the composition interesting — on Jeffrey Jones’s official Web site. It’s the first image on this page, right beside the figure reference for the painting Age of Innocence.

The N. C. Wyeth influence is pretty obvious in Jones’s Nine Princes cover — see, for instance, Wyeth’s paintings for Robin Hood, etc. Years later, Jones revisited the idea of the knight on horseback in his Game of Thrones painting. Notice how the Wyeth influence is no longer right on the surface in the later painting but has been absorbed and transformed into a style that is less about trying on techniques and motifs like pieces of clothing and more about the pleasure of manipulating and thinking in paint.

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This post is a sequel to a previous effort that featured two Zebra-Kensington REH covers, with art by Jeffrey Jones (as usual, click the image below to view a larger version):

jeffrey-jones_variations-on-a-meaningless-gesture

“After a few years in NYC a friend of mine, a great artist, much older than me, the late Roy G. Krenkel, told me that I was the Master of the Meaningless Gesture. Well, I do this in my art because I don’t want to tell anyone anything. Also in my words, like my poem. I want the people to bring themselves to the work, based on their own experience.” — Jeffrey Jones, autobiography

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When I win, you win:

No, I didn’t win that copy of Dark Mansion of Forbidden Love from an ebay auction, but I thought you might appreciate having a scan readily available to compare with the black-and-white original art that appeared on the cover of Art Show. As you can see, it was the fact that Jones’s original black-and-white artwork was mostly continuous tone that gave the Dark Mansions cover its striking appearance, which I’d characterize as somewhere between a typical comic book cover and a hand-coloured photograph.

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As I noted on this blog a long time ago, Jones’s paintings for Zebra Books/Kensington Publishing Corporation were one of the high points of the artist’s career as a cover artist. What I find interesting when I compare the two covers posted below, though, is the difference in Jones’s imagery and technique from one to the other. Whereas Legion from the Shadows features a rather abstractly composed fantasy battle scene delineated in thin washes of oil paint with relatively little opaque overpainting — some of the lightest lights in the painting have been created simply by wiping out the paint to expose the white ground — The Sowers of the Thunder explicitly hearkens back to the imagery and technique of James McNeill Whistler as evidenced in works such as Variations in Flesh Colour and Green: The Balcony and The Artist’s Studio, both of which I’ve included below for the sake of easy comparison. Whistler and Robert E. Howard — an odd couple if ever there was one!

The final two images above provide a comparison between the figure in the right foreground of The Sowers of the Thunder and the original art for one of the plates in Jones’s As a Child portfolio (Colchester, CT: Black Lotus, 1980).

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Below you’ll find images of the original and revised versions of Frazetta’s painting, both of which include the helmeted, injured figure in the bottom left corner, as well as two details of the helmeted, injured figure in the Jones cover, one of which I’ve flipped horizontally for ease of comparison.

Not copied. But definitely “inspired by”… though I’m not certain who was inspired by whom. Near as I can tell, the Jones cover was published first, in 1970; the Frazetta, second, in 1971. So make of that what you will…

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Yes, more.

I’ve looked at a lot of art by Jeffrey Jones over the years, and I have a pretty good memory for images, so I’m always surprised when I come across a Jones cover that I’ve never seen before. That’s the case with The Purple Pirate by Talbot Mundy, which just yesterday I stumbled upon among the used paperbacks at the local Value Village store. It’s unfortunate the book isn’t in better condition, but it was so cheap, and so rare, that I couldn’t pass it up in the hope of finding a better copy at some later date. There’s a sort-of Frazetta swipe on that cover, too; or maybe Frazetta sort-of swiped from Jones. (Anyone know which painting came first?) It’s the fallen soldier in the lower left of the painting. In my next post, I’ll provide a side-by-side comparison so you can see what I mean.

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