Oil on panel glued on table
Signed on the lower right corner
In excellent condition
It is not necessary to frame everything and it can be done.
Spanish painter and illustrator who also has worked as a cartoonist and as a theoretician, disseminator and teacher in this field. He began his professional career at the end of the 1950s, drawing cartoons in the agency Selecciones Ilustradas for the European market, after passing through the publicity and the illustration fields in the mid-1960s, he came back to cartoons and started to work for magazines such as Warren, always through SI, at the beginning of the 1970s. He kept on working in this sector in the covers of Toutain Editor. He was a reference inside the so-called pictorial comic, and he alternated this with illustration until the 1990s, but he finally moved on to salon painting and portrait commissions.
Fernando Fernández was born in Barcelona in 1940. At the young age of 13, he started to work in the office of a pharmaceutical laboratory, and later in the office of a small textile factory. At the same time, he studied corporate expertise during the night. He took his first artistic steps in 1955, inking works for Antonio Biosca in Chispita’s -the son of Jinete Fantasma, from Editorial Grafidea- books. The next year, he drew Ghost Ship!, a science-fiction cartoon, where he was the author of both the script and drawings. This served him as a test to start a full-time collaboration with the agency Selecciones Ilustradas. At the beginning he inked works for other drawers such as Pedro Añaños, and later he illustrated romantic cartoons intended for the English market.
After his stay in Buenos Aires -between 1958 and 1960, during which he didn’t stop his collaboration with SI, he published cartoons with his own scripts in the Argentinian magazines Gorrión, Puño Fuerte and Totem Gigante. He started then his war period for Fleetway, and he started to learn about pictorial and illustration techniques. He also started to write scripts which were later illustrated by his own colleagues in the agency. Auraleón, Buylla, Añaños...During those years he alternated his job as a cartoonist with his role as an illustrator, and he did covers for comics and novels from the Spanish Toray, Ferma, Molino, Sopena, IMDE, etc. In the mid-1960s, his all-genres covers (romantic, far-west, war, police, science-fiction, youth....), were reproduced in large parts of Europe. During this period, his work was diversified into the field of publicity, and he also did his first steps in painting. He was awarded with several local prizes, and he held his firs individual exhibition in 1969 in the Sala Jaimes in Barcelona. During those years he held six individual and twelve collective exhibitions, however he withdrew from that promising future and he continued to work as an illustrator and cartoonist.
After completing his military service, Fernando Fernández married María Rosa Lleida, also a cartoonist, illustrator and painter, with whom he had two children: Eva - born in 1965- and Héctor, in 1969. All of them are nowadays, linked to the world of art.
During the 1970s, he started a fruitful collaboration as a cover artist for the American pocketbook market, for the publishing houses Random House, Dell Publishing, Ace Books, New American Library, etc. He was an active member fo the DHIN Club and was actually one of the founding members. This association of drawers and illustrators, chaired by Francisco Macián, tried to legislate and manage the copyrights of creators in the Spanish cartoons. Between 1970 and 1973 he carries out the satirical strip Mosca, for Diario de Barcelona. For Editorial Rollán, in Madrid, he adapted and directed several fotonovelas from Corín Tellado’s collection, where several family members and friend colleagues appeared. During those years, he drew -via SI- thirteen cartoons with his own scripts and with several experimental styles for the Warren publishing house. They were published in the USA in the magazines Eerie and Vampirella, and in Spain they saw the light in the covers of Garbo, Vampus, Rufus and Vampirella. Thanks to the one entitled Goodby, my love (published in Spain in Vampirella #7, with the title Adios amor mío), he was awarded with the 1975 Warren prize for the best cartoon.
In 1973 he did not reach an agreement with Rollán for the publication of a series of didactic books, but he did with Afha publishers, for whom he wrote the series Ciencia y Aventura: five books in total, between 1974 and 1979, where he experimented with pictorial comics, mixing the juvenile, adventures cartoon with scientific and didactic dissemination. This collection was quite successful, and was published in several European countries at the same time. It was republished several times, and even some of them were published with Círculo de Lectores and several Savings Banks. In 1977, he was awarded with the A.C.P.F award and the Premio Nacional de Ilustración for the # 2 issue of the collection Viaje al mundo de los Insectos. Also, in 1974, he participated in the Enciclopedia Juvenil Pala, directed by Luis Gasca. He drew a 17 pages comic for the volume 9. It was entitled El Teatro con guión de Juan José Sarto.
During the Transición years, he worked for the magazine Interviú, as a graphic journalist, and he published different humorous collaborations and short cartoons for the magazines Siesta, Primera Plana, etc. At the same time, he was the script author of the works that his wife Rosa Lleida was writing for the satirical magazine El jueves. In 1979, he wrote his own script for the album L’uomo di Cuba, belonging to the collection Un uomo un’avventura, for the Italian publisher Cepim. One year later it was published in Spain by Editorial Nueva Frontera, in the #10 issue of collection Super Tótem.
In the 1980s, he continued his graphic experimentation inside the cartoon genre with the series Círculos, which was published fractionated in the magazine Toutain Editor in 1984, and in the monographic book dedicated to this author inside the collection Cuando el Cómic es Arte, in the same publishing house. The baroque, modernist and gaudi-like science-fiction comic Zora y los internautas was born with these same plastic approach. This series of comics was published in the magazine 1984 and compiled as an album in 1983. This work was followed by the adaptation of Bram Stocker’s Dracula, completely carried out in oil painting, and serialized from the number 36 of the magazine Creepy, also from Toutain, in June 1982. In 1984, it was published entirely by the same publisher. During those years he wrote cartoon scripts that were illustrated by his wife, Rosa Lleida. An example is the numbered series in the first period of the magazine Cimoc, published by Riego.
Fernando started his work of dissemination of cartoons making covers for Toutain. First with the section entitled En Frecuencia Moderada in the magazine 1984 -from numbers 30 to 46- he continued with Estafeta -from # 47 to # 64 inclusive- . He was awarded with the 1982 prize of El Diario de Avisos as the best critic. That same year, together with other cartoonist such as Manfred Sommer and Leopoldo Sánchez, he created the T.C.I, a comic and illustration workshop where he taught for a couple of years. He worked as a teacher in the HHSS Maristas school, situated in Paseo San Juan in Barcelona. He worked there as a drawing teacher for two years and later, from 1990 to 1993, he gave comic and illustration classes in Createcnia, escuela de Artes Visuales.
For the Bruguera publishing house, he adapted a selection of short stories by the science-fiction writer Isaac Asimov. They immediately appeared in the 1983 album in the collection Firmado por.... and they were reprinted years later in the magazines El Capitán Trueno and Zona 84. The following year he illustrated in colour the cartoon La leyenda de las cuatro sombras for the magazine Zona 84 (Toutain Editor), with a script by the Argentinian Carlos Trillo. This cartoon appeared in several chapters, between the issues one and nine, and it still has not been published as a book. The illustrated, science-fiction, juvenile book The Crown, La Corona del espacio is from 1987. It has texts from Albert Carey, commissioned by Nutrexpa, with aesthetics and characters very similar to the ones seen in the collection Ciencia y Aventura, an album to complete with holograms. In 1989, Ediciones B commissioned him more Asimov adaptations. That is how the character of Luky Starr was born, but he only carried out one adventure: Los océanos de Venus, which appeared in the magazine Gran Aventurero in 1989. Another project for Ediciones B fell by the wayside: Terrific, a script by Victor Mora, for which Fernando made quite a lot of pages, but it failed to see the light due to publishing problems.
His last contributions to the world of cartoons are with Toutain and for its magazines Zona 84 and Totem el Comix, in 1988. In the first one appear -apart from the series of illustrations of Galería de personajes fantásticos, three short adaptations of A. W. Klimosky and a character created by himself: Argón, of whom he created two long adventures: Argón el salvaje and El summum, this last one with a script by José María Pollos, and with the help of his old students, Amadeo Aldabert and Albert Tarragó in the graphical part, after he suffered a heart attack. Zodiaco was published in the second one, but only seven chapters appeared from the twelve composing the series. His son Hector helped with it.
On medical prescription, he decided to quit cartoons and dedicate himself fully to painting. In 1994 he started a collaboration with Grupo de Arte Escolá, as an exclusive portraitist. He carried out many portraits of important public figures. In the last few years, he has held more than one hundred exhibitions in Spain and abroad, both collective and individual.
Fernando Fernández does not forget the cartoon world. An evidence of this is Memorias Ilustradas, published by Glenat in 2004, an autobiographical book where he keeps record of an era, remembering his experiences as a cartoonist with plenty of graphical documentation. In the same year, Glenat reissued two of his most emblematic works: Zora y los hibernautas and Dracula.
In the past, he has been given the pseudonym of Roger. He never used it. Toutain used this pseudonym for the realization of some fotonovelas and in the series Delta 99, as Fernández himself has said.
- Fernando Fernandez Sánchez (Barcelona 1940 - 2010)
- Titel des Kunstwerks
- Rostro árabe
- s. XX
- Öl auf Tafel
- In sehr gutem Zustand
- Verkauf mit Rahmen
- 2 kg
- 28×20 cm
- 30×3×21 cm