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Robert Dennis Crumb (; born August 30, 1943) is an American artist who often signs his work R. Crumb. His work displays a nostalgia for American folk culture of the late 19th and early 20th centuries, and satire of contemporary American culture.
Crumb contributed to many of the seminal works of the underground comix movement in the 1960s, including being a founder of the first successful underground comix publication, Zap Comix, contributing to all 16 issues. He was additionally contributing to the East Village Other and many other publications, including a variety of one-off and anthology comics. During this time, inspired by psychedelics and cartoons from the 1920s and 1930s, he introduced a wide variety of characters that became extremely popular, including countercultural icons Fritz the Cat and Mr. Natural, and the images from his Keep On Truckin' strip. Sexual themes abounded in all these projects, often shading into scatology and pornographic comics. In the mid-1970s, he contributed to the Arcade anthology; following the decline of the underground, he moved towards biographical and autobiographical subjects while refining his drawing style, a heavily Hatching pen-and-ink style inspired by late 19th- and early 20th-century cartooning. Much of his work appeared in a magazine he founded, Weirdo (1981–1993), which was one of the most prominent publications of the alternative comics era. As his career progressed, his comic work became more autobiographical.
In 1991 Crumb was inducted into the comic book industry's Will Eisner Comic Book Hall of Fame, and in 1994 the Terry Zwigoff film Crumb explored his artistic career and personal life. He was married to cartoonist Aline Kominsky-Crumb, with whom he frequently collaborated. Their daughter, Sophie Crumb, has also followed a cartooning career.
His mother, Beatrice Loretta Crumb (née Hall), was a housewife who reportedly Substance abuse diet pills and amphetamines. Crumb's parents' marriage was unhappy and the children were frequent witnesses to their parents' arguments. (1998). 9780867194272, Last Gasp. ISBN 9780867194272 The couple had four other children: sons Charles Crumb and Maxon Crumb, both of whom suffered from mental illness, and daughters Carol
target="_blank" rel="nofollow"> Carol obituary and Sandra. The family often moved between Philadelphia and Charles's hometown, Albert Lea, Minnesota. In August 1950, the Crumbs moved to Ames, Iowa. For two years, Charles, a Marine Corps sergeant, was an instructor in the Naval R.O.T.C. program at Iowa State College. The family moved to Milford, Delaware, when Crumb was twelve and where he was an average student whose teachers discouraged him from cartooning.
Inspired by Walt Kelly, Fleischer Brothers animation and others, Crumb and his brothers drew their own comics. His cartooning developed as his older brother Charles Crumb pushed him and provided feedback. In 1958 the brothers self-published three issues of Foo in imitation of Harvey Kurtzman's satirical Humbug and Mad which they sold door-to-door with little success, souring the young Crumb on the comic-book business. At fifteen, Crumb collected classical jazz and blues records from the 1920s to the 1940s. At age 16 he lost his Catholic faith.
In Cleveland, he met a group of young Bohemianism such as Buzzy Linhart, Liz Johnston, and Harvey Pekar. Dissatisfied with greeting card work, he tried to sell cartoons to comic book companies, who showed little interest in his work. In 1965, cartoonist Harvey Kurtzman printed some of Crumb's work in the humor magazine he edited, Help! Crumb moved to New York, intending to work with Kurtzman, but Help! ceased publication shortly after. Crumb briefly illustrated bubblegum cards for Topps before returning to Cleveland and American Greetings.
Crumb married Dana Morgan in 1964. Nearly destitute, the couple traveled in Europe, during which Crumb continued to produce work for Kurtzman and American Greetings, and Dana stole food. The relationship was unstable as Crumb frequently went his own way, and he was not close to his son, Jesse (born in 1968).
In 1965 and 1966 Crumb had a number of Fritz the Cat strips published in the men's magazine Cavalier. Fritz had appeared in Crumb's work as early as the late 1950s; he was to become a hipster, scam artist, and bohemian until Crumb abandoned the character in 1969.
Crumb was becoming increasingly uncomfortable with his job and marriage when in June 1965 he began taking LSD, a psychedelic drug that was then still legal. He had both good and . One bad trip left him in a muddled state for half a year, during which for a time he left Dana; the state ended when the two took a strong dose of the drug together in April 1966. Crumb created a number of his best-known characters during his years of LSD use, including Mr. Natural, Angelfood McSpade, and the Snoid. His work in the underground comics scene coincided with the rise of Timothy Leary's acid tests and psychedelics generally which led to deals with psychedelic artists such as the Grateful Dead.
Independent publisher Don Donahue invited Crumb to make a comic book; Crumb drew up two issues of Zap Comix, and Donahue published the first in February 1968 under the publisher name Apex Novelties. Crumb had difficulty at first finding retailers who would stock it, and at first his wife took to selling the first run herself out of a baby carriage.
Crumb met cartoonist S. Clay Wilson, an art school graduate who saw himself as a rebel against middle-class American values and whose comics were violent and grotesque. Wilson's attitude inspired Crumb to give up the idea of the cartoonist-as-entertainer and to focus on comics as open, uncensored self-expression; in particular, his work soon became sexually explicit, as in the pornographic Snatch he and Wilson produced late in 1968.
The second issue of Zap appeared in June with contributions from Wilson and poster artists Victor Moscoso and Rick Griffin. Artist Barry Pressing also contributed to Zap. In December, Donahue published the still-unreleased issue as 0 and a new third issue with Gilbert Shelton joining the roster of regulars. Zap was financially successful, and developed a market for underground comix.
Crumb was a prolific cartoonist in the late 1960s and early 1970s; at his peak output he produced 320 pages over two years. He produced much of his best-known work then, including his Keep On Truckin' strip, and strips featuring characters such as the bohemian Fritz the Cat, spiritual guru Mr. Natural, and oversexed African-American stereotype Angelfood McSpade.Dowd, Douglas B.; Hignite, Todd (2006). Strips, Toons, And Bluesies: Essays In Comics And Culture. New York: Princeton Architectural Press, pp. 76–79. . During this period, he launched a series of solo titles, including Despair, Uneeda (published by Print Mint in 1969 and 1970 respectively), Big Ass Comics, R. Crumb's Comics and Stories, Motor City Comics (all published by Rip Off Press in 1969), Home Grown Funnies (Kitchen Sink Press, 1971) and Hytone Comix (Apex Novelties, 1971), in addition to founding the pornographic anthologies Jiz and Snatch (both Apex Novelties, 1969).Roger Sabin (1996). "Going underground". Comics, Comix & Graphic Novels: A History Of Comic Art. London, United Kingdom: Phaidon Press. p. 92. .
Crumb's work also appeared in Nasty Tales, a 1970s British underground comic. The publishers were acquitted in a celebrated 1972 obscenity trial at the Old Bailey in London; the first such case involving a comic. Giving evidence at the trial, one of the defendants said of Crumb: "He is the most outstanding, certainly the most interesting, artist to appear from the underground, and this (Dirty Dog) is Rabelaisian satire of a very high order. He is using coarseness quite deliberately to get across a view of social hypocrisy.""International Times" journal, , February 9, 1973, .
From 1987 to 2005 Fantagraphics Books published the seventeen-volume Complete Crumb Comics and ten volumes of sketches. Crumb (as "R. Crumb") contributes regularly to Mineshaft magazine, which, since 2009, has been serializing "Excerpts From R. Crumb's Dream Diary".
In 2009 Crumb produced The Book of Genesis, an unabridged illustrated graphic novel version of the biblical Book of Genesis. In 2016, the Seattle Art Museum displayed the original drawings for The Book of Genesis as part of an exhibit entitled "Graphic Masters: Dürer, Rembrandt, Hogarth, Goya, Picasso, R. Crumb."
In January 2015, Crumb was asked to submit a cartoon to the left-wing magazine Libération as a tribute for the Charlie Hebdo shooting. He sent a drawing titled "A Cowardly Cartoonist", depicting an illustration of the backside of "Mohamid Bakhsh", a reference to Muhammad, founder of Islam, and Ralph Bakshi, who directed the film adaptation Fritz the Cat (1972). "Legendary Cartoonist Robert Crumb on the Massacre in Paris," New York Observer (10 January 2015).
In 1989, in an issue of Hup Magazine, Crumb had drawn a satirical comic, Point the Finger, lampooning businessman
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Crumb collaborated with his wife, Aline Kominsky-Crumb, on many strips and comics, including Dirty Laundry Comics, Self-Loathing Comics, and work published in The New Yorker.Jones, Jonathan. "Self-Loathing Comics, Robert Crumb (1994)" The Guardian, 19 August 2000. Retrieved September 25, 2014.
In 1978, Crumb allowed his artwork to be used as pictorial rubber stamp designs by Top Drawer Rubber Stamp Company, a collaboration between cartoonist Art Spiegelman, publisher Françoise Mouly, and people living at Quarry Hill Creative Center in Rochester, Vermont. R. Crumb's imagery proved to be some of the most popular designs produced by this avant-garde pictorial stamp company. RubberStampMadness magazine No. 1 (1980), p. 10.
In the 1980s and 1990s, Crumb illustrated a number of writer Charles Bukowski's stories, including the collection The Captain Is Out to Lunch and the Sailors Have Taken Over the Ship and the story "Bring Me Your Love".Popova, Maria. "R. Crumb Illustrates Bukowski" www.brainpickings.org. Retrieved September 25, 2014.
In 1984–1985 Crumb produced a series of illustrations for the tenth anniversary edition of Edward Abbey's environmental-themed novel The Monkey Wrench Gang, published in 1985 by Dream Garden Press of Salt Lake City. Many of these illustrations also appeared in a 1987 Monkey Wrench Gang calendar, and remain available on T-shirts.
R. Crumb Comix, a theatrical production based on his work and directed by Johnny Simons, was produced in Fort Worth, Texas, in 1986. It was revived at Duke University in 1990, and co-starred Avner Eisenberg. The development of the play was supervised by Crumb, who also served as set designer, drawing larger-than-life representations of some of his most famous characters all over the floors and walls of the set.Sharpe, Susan. "Avner the Eccentric Brings Comics to Life," The Chronicle (Nov. 9, 1990), pp. 4, 6.
Crumb's collaboration with David Zane Mairowitz, the illustrated, part-comic biography and bibliography Introducing Kafka (1993), a.k.a. Kafka for Beginners, is one of his less sexual- and satire-oriented, comparably highbrow works. It is well-known and favorably received, and due to its popularity was republished as R. Crumb's Kafka.
Crumb was the leader of the band R. Crumb & His Cheap Suit Serenaders, for which he sang lead vocals, wrote several songs and played banjo and other instruments.Lynch, Megan. "The Cheap Suit Serenaders," AllMusic.com. Accessed Nov. 17, 2019. Crumb often plays mandolin with Eden and John's East River String Band and has drawn four covers for them: 2009's Drunken Barrel House Blues, 2008's Some Cold Rainy Day, 2011's Be Kind To A Man When He's Down on which he plays mandolin, the latest (2022) "Goodbye Cruel World", on which he sings vocals, plays ukulele, mandolin & tiple. In 2013 he played on their album Take A Look at That Baby and also took part in the accompanying music video.
With Dominique Cravic, in 1986 he founded "Les Primitifs du Futur"—a French band whose eclectic music has incorporated Bal-musette, folk, jazz, blues and world music—playing on their albums "Cocktail d'Amour" (1986), "Trop de Routes, Trop de Trains" (1995), "World Musette" (1999) and "Tribal Musette" (2008). He also provided the cover art for these albums.
Crumb has released CDs anthologizing old original performances gleaned from collectible 78-rpm phonograph records. His That's What I Call Sweet Music was released in 1999 and Hot Women: Women Singers from the Torrid Regions in 2009. Chimpin' the Blues, a collaboration with fellow record collector Jerry Zolten that combines rare recordings with conversation about the music and the musicians, was released in 2013. Crumb drew the cover art for these CDs as well.
Between 1974 and 1984, Crumb drew at least 17 album covers for Yazoo Records/Blue Goose Records, including those of the Cheap Suit Serenaders. He also created the revised logo and record label designs of Blue Goose Records that were used from 1974 onward.
In 1992 and 1993, Robert Crumb was involved in a project by Dutch formation the Beau Hunks and provided the cover art for both their albums The Beau Hunks play the original Laurel & Hardy music 1 and 2. He also illustrated the albums' booklets.
In 2009, Crumb drew the artwork for a 10-CD anthology of French traditional music compiled by Guillaume Veillet for . The following year, he created three artworks for Christopher King's Aimer Et Perdre: To Love And To Lose: Songs, 1917–1934.
A peer in the underground comics field, Victor Moscoso, commented about his first impression of Crumb's work, in the mid-1960s, before meeting Crumb in person: "I couldn't tell if it was an old man drawing young, or a young man drawing old." Robert Crumb's cartooning style has drawn on the work of cartoon artists from earlier generations, including Billy DeBeck (Barney Google), C. E. Brock (an old story book illustrator), Gene Ahern's comic strips, Basil Wolverton (Powerhouse Pepper), George Baker ( Sad Sack), Ub Iwerks's characters for animation, Friz Freleng's drawings for the early Merrie Melodies and Looney Tunes of the 1930s, Sidney Smith ( The Gumps), Rube Goldberg, E. C. Segar (Popeye) and Bud Fisher ( Mutt and Jeff). Crumb has cited Carl Barks, who illustrated Disney's "Donald Duck" comic books, and John Stanley ( Little Lulu) as formative influences on his narrative approach, as well as Harvey Kurtzman of Mad Magazine fame.
Fellow underground cartoonist Art Spiegelman remarked that upon meeting Crumb for the first time and seeing his work, he became 'satisfied' that Crumb would do all the revolutionary things in comics that he had initially hoped to do himself. He also called Crumb "one of the world’s greatest cartoonists ever."
After issues 0 and 1 of Zap, Crumb began working with others, of whom the first was S. Clay Wilson. Crumb said, about when he first saw Wilson's work "The content was something like I'd never seen before, ... a nightmare vision of hell-on-earth ..." And "Suddenly my own work seemed insipid ..." The Art of S. Clay Wilson, Ten Speed Press, 2006, p. vii.
Crumb remains a prominent figure, as both artist and influence, within the alternative comics milieu. He is hailed as a genius by such comic book talents as Jaime Hernandez, Daniel Clowes, Chris Ware, Seth, Joe Sacco and Peter Bagge. Other cartoonists who have praised or cited Crumb's work as an influence include Hergé, Will Eisner, Jean Giraud, Carl Barks, Charles M. Schulz, Lynda Barry and Alison Bechdel.
The art critic Robert Hughes called Crumb "the Brueghel of the last half of the twentieth century" and "the one and only genius the 1960s underground produced in visual art, either in United States or Europe." Comic critic Andrew D. Arnold, writing for Time Magazine, stated that "Crumb’s impact on his field, as well as his longevity as a crucial artist, rivals that of Pablo Picasso."
In the fall of 2008, the Institute of Contemporary Art in Philadelphia hosted a major exhibition of his work, which was favorably reviewed in The New York Times Mr. Natural Goes to the Museum, September 5, 2008, The New York Times and in The Philadelphia Inquirer. Out from underground, August 31, 2008, The Philadelphia Inquirer
With Jack Kirby, Will Eisner, Harvey Kurtzman, Gary Panter, and Chris Ware, Crumb was among the artists honored in the exhibition "Masters of American Comics" at the Jewish Museum in New York City, from September 16, 2006, to January 28, 2007.. .Kimmelman, Michael. "See You in the Funny Papers" (art review), The New York Times, October 13, 2006.
In 2017, Crumb's original cover art for the 1969 Fritz the Cat collection published by Ballantine sold at auction for $717,000, the highest sale price to that point for any piece of American cartoon art.Milton Griepp, "New Record Price for American Comic Art: Robert Crumb's Fritz the Cat," ICv2 (May 19, 2017).
Crumb and his work are featured in Ron Mann's Comic Book Confidential (1988).
In the Star Wars movie Return of the Jedi (1983), the name (and aspects of the appearance) of the character Salacious B. Crumb are derived from, and are an homage to, Crumb.
In the 2003 movie American Splendor, Crumb was portrayed by James Urbaniak. Crumb's wife Aline was quoted as saying she hated the interpretation and never would have married Robert if he was like that.Jewell, Stephen. "R Crumb, Peter Poplaski: The R.Crumb Handbook," NZ Herald (2 Jul, 2005).
In 2005, Crumb brought legal action against Amazon.com after their website used a version of his widely recognizable "Keep On Truckin'" character. The case was expected to be settled out of court.
Underground rap artist Aesop Rock mentions Crumb several times in his lyrics, including in the songs "Catacomb Kids" from the album None Shall Pass and "Nickel Plated Pockets" from his EP "Daylight".
R. Crumb's Sex Obsessions, a collection of his most personally revealing sexually oriented drawings and comic strips, was released by Taschen Publishing in November 2007. In August 2011, following concerns about his safety, Crumb cancelled plans to visit the Graphic 2011 festival in Sydney, Australia, after a tabloid labeled him a "self-confessed sex pervert" in an article headlined "Cult genius or filthy weirdo?"
In 2012, Crumb appeared on John's Old Time Radio Show, talking about old music, sex, aliens and Bigfoot. He also played 78-rpm records from his record room in southern France. He has appeared on the show and recorded at least fourteen one-hour podcasts.
At age six, Crumb's son was featured as a character in Robert and Aline's Dirty Laundry Comics No. 1 (Cartoonists Co-Op Press, 1974); he also appeared as an adult in Terry Zwigoff's 1994 documentary film, Crumb. On New Year's Eve, December 31, 2017, Crumb's son was seriously injured in a car crash near Phillipsville, California, and died three days later; he was 49 years old.
Crumb was a member of the Church of the SubGenius.
In addition to being the target of speculation by critical theorists and academic researchers, Crumb has also been held to scrutiny, by feminist writer Deirdre English. English has been quoted as saying that Crumb engages in "self-indulgent fantasies" through his work, continually blurring the line between entertainment and pornography.English quoted in Row, D.K. "R. Crumb: A Crummy Life," The Oregonian (February 15, 2008): "Deirdre English, who sees, simply, a peddler of misanthropy, a misogynistic, racist man-child getting his ya-yas from his over-the-top images of sex, race and women."
He has been the target of criticism by colleagues as well, such as Trina Robbins, who called Crumb a "sexist pig" due to his sexual hostility towards women.Berger, A. (Producer), & Terry Zwigoff (Director). (1994). Crumb Motion. United States: Superior Pictures
Crumb's work is also filled with unsavory images of African Americans (such as his recurring character Angelfood McSpade), who are often portrayed as indigent, tribal, and blackface. Crumb often used African American characters as "tokens", appearing as re-used tropes such as clowns, tribesmen, athletes, etc. Researcher Edward Shannon interpreted the themes of Crumb's story containing marginalized Africans in "When the Niggers Take Over America" (published in 1993 in Weirdo) like this: "Crumb ... explores both the American Dream and its nightmare reflection; in this ... strip all-American white middle class children are depicted as cannibals eager to devour the devalued and dehumanized other." Crumb has responded to criticism by claiming that he did not invent racist caricature, but that they were part of the American culture in which he was raised. He sees his art as a criticism of the racist stereotype itself and assumed that the audience who read his work in the late 1960s were not racists and would understand his intentions.
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