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Topic: Winsor McCay

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	Don Markstein's Toonopedia: Little Nemo in Slumberland
		Winsor McCay worked as a sign painter, vaudeville performer and freelance cartoonist in Cincinnati, Ohio, during the late 19th century and the first couple of years of the 20th.
		In 1911, McCay, who in addition to his accomplishments as a newspaper cartoonist, was also a pioneer of animation (his Gertie the Dinosaur was perhaps animation's first success), created an animated version of the character in 1911, making him the first comics character adapted into that medium.
		In 1911, McCay was lured away from Bennet's paper by William Randolph Hearst.
	www.toonopedia.com /nemo.htm (680 words)

	Winsor McCay - Wikipedia, the free encyclopedia
		Zenas Winsor McCay (September 26, 1871 to July 26, 1934) was a prolific artist and pioneer in the art of animation.
		McCay's cartoons were never overwhelmingly popular, but always had a strong following because of his expressive graphic style.
		McCay also created a number of animated short films, in which every single frame of each cartoon (with each film requiring thousands of frames) was hand-drawn by McCay himself.
	en.wikipedia.org /wiki/Winsor_McCay (421 words)

	Slingshot Entertainment
		McCay's superlative command of detail and perspective combined with his fantastical imagination made him one of the most popular illustrators of his time and one of the most influential of this century's artists.
		McCay's second film, How a Mosquito Operates (1912), follows the attack of the persistent mosquito on a sleeping man. It is the first of McCay's animated films that attempts a story narrative and characterization.
		McCay produced his most ambitious and most impressive film of his career in this narrative accounting of the event that precipitated the beginning of World War I. The film is undeniably propaganda, with its decidedly anti-German position intended to bolster continued support for the Allied cause.
	www.slingshotent.com /ss_btmenu_review_animl1.htm (1194 words)

	Comic creator: Winsor McCay ('Silas')
		Winsor McCay was one of the founding fathers of the US newspaper comic.
		McCay was most famous for his masterpiece 'Little Nemo in Slumberland', which appeared in October, 1905, and was serialized in the New York Herald until 1911.
		Then Winsor McCay made a move all too familiar for comic artists of that time, when he quit working for the Herald and moved to the New York American (of newspaper tycoon William Randolph Hearst).
	lambiek.net /artists/m/mccay.htm (396 words)

	MichaelBarrier.com -- Commentary: Canemaker's McCay
		McCay's career was not brief—he died in 1934, in his late sixties—but his best work was concentrated in the decade before 1914, when he drew his finest "'Nemo" pages and performed in vaudeville, using his animated cartoons as part of his quick-sketch act.
		McCay strikes me as one of those people whose talents are so awe-inspiring that we resist the notion that those talents were very narrow.
		Even if McCay was of less than the very first rank as a comic-strip artist and a filmmaker, he was still a peerless draftsman, an inspired decorator of panels, an expert analyzer of motion—and, for those reasons, an especially appropriate subject for this kind of art book.
	www.michaelbarrier.com /Commentary/McCay/McCay.htm (873 words)

	Winsor McCay
		McCay’s earliest work consists of a number of cartoons that were hand drawn on rice paper, among them the famous shorts Gertie the Dinosaur and Little Nemo in Slumberland.
		McCay’s drawings possess an amazing sense of life and weight, and their play with perspective and motion far surpass any animated films from the same period.
		McCay’s films from this point on would lose a bit of the striking verve that the earlier work possesses, and as there were still many technical details to be worked out with this style, the cartoons that follow are at times a bit clumsy.
	www.boxofficeprophets.com /column/index.cfm?columnID=8409 (1072 words)

	paper 1
		McCay was aware of the tragedy, and even animated the ship it its death throes with representational "last gasps" depicted by the smoke coming from the funnels.
		McCay himself even labeled the movie a "moving pen picture." These new techniques were in line with other artistic forms of expression, even when compared with the melding of art and music in animations.
		McCay should be seen as a pioneer and innovator with "The Sinking of The Lusitania" in that he was able to bring forth these new techniques through such a monumental cultural event, which seems to make it larger than life.
	www2.msstate.edu /~mtp1/ev1.html (1165 words)

	Winsor McCay Biography
		For starters, McCay was born in 1867 (the same year as Frank Brangwyn, Arthur Rackham and Sidney Sime) and had an eccentric and checkered career behind him when he moved to New York in 1903.
		Winsor McCay was born Zenas Winsor McKay in 1867, probably in Canada.
		McCay projected the film on his white sketch pad and in a carefully choreographed sequence interacted with the animated dinosaur and actually joins her on screen for the finale.
	www.bpib.com /illustrat/mccay.htm (2261 words)

	Comic creator: Winsor McCay ('Silas')
		Winsor McCay was one of the founding fathers of the US newspaper comic.
		McCay began his masterpiece, 'Little Nemo in Slumberland', in October, 1905, and it was serialized in the New York Herald until 1911.
		Then Winsor McCay made a move all too familiar for comic artists of that time, when he quit working for the Herald and moved to the New York American (of newspaper tycoon William Randolph Hearst).
	www.lambiek.net /artists/m/mccay.htm (535 words)

	DVD Review of Animation Legend: Winsor McCay - DVDtoons! (Site not responding. Last check: )
		Winsor McCay did not invent the animated cartoon, but he was the first to shape the way that such films would be made, and is to all intents and purposes, the father of animation.
		McCay’s name became known nation-wide, and it was the Gertie film that prompted such later animation figures as Walter Lantz, Dave Fleischer and Disney animator Dick Huemer to become interested in animation as a career.
		In 1927, McCay had attended a dinner given by the animation community at which he was the guest of honour, and after a lengthy introduction, made a short speech.
	www.dvdtoons.com /reviews/48 (2669 words)

	A BRIEF BIOGRAPHY OF WINSOR McCAY (Site not responding. Last check: )
		Winsor McCay was born in 1867 in Canada.
		McCay left school at the age of 21, and went to work at the National Printing Company of Chicago.
		At the end of 1903, McCay was being courted by the New York Herald, and promptly moved his family to New York.
	vegalleries.com /winsorbio.html (805 words)

	Winsor McCay - The Master Edition - ReviewFocus
		WINSOR MCCAY: THE MASTER EDITION includes all known animation by McCay, nine solo efforts and one he made in collaboration with his son Robert.
		For those of you not familiar with Winsor McCay (1867-1934), he was a celebrated comic strip artist whose principal strips LITTLE NEMO IN SLUMBERLAND and DREAMS OF THE RAREBIT FIEND (that's Welsh Rarebit) were mainstays in the Hearst papers during the first decade of the 20th Century.
		Winsor McCay was much more than a comic strip creator and an animation pioneer.
	www.reviewfocus.com /cat548/prod413157/review1.html (1289 words)

	filmjourney.org : Winsor McCay
		McCay, who was a respected New York Herald cartoonist, is considered to have been the first real master of animation, creating extended motion films with great detail and a surprisingly offbeat sense of humor.
		This is followed by his promise to make 4,000 more drawings in a month's time, which is followed by more footage of assistants comically wheeling in barrels of ink and large slabs of stacked paper to his office, a source of later slapstick when the piles of drawings fall over and become disordered.
		McCay works wonders with the steam billowing from the boat's smokestacks, undulating like snakes in the throes of death.
	filmjourney.weblogger.com /2004/08/17 (687 words)

	Little Nemo - Wikipedia, the free encyclopedia
		Little Nemo is the main fictional character in a series of weekly comic strips by Winsor McCay (1871-1934) that appeared in the New York Herald and William Randolph Hearst's New York American newspapers from October 15, 1905—April 23, 1911 and April 30, 1911—1913 respectively.
		McCay's mastery of perspective, and the extreme elegance of his line work, make his visions both graphically wondrous and utterly convincing.
		James Stuart Blackton and Winsor McCay directed a three-minute animated short film based on the comic strip.
	en.wikipedia.org /wiki/Little_Nemo (1139 words)

	Winsor McCay
		McCay decided to animate a Dinosaur to prove that his drawings were moving.
		McCay cracks his whip, and commands Gertie to bow to the audience, and to raise her foot.
		McCay's stage dialogue with Gertie was replaced with intertitles, and the film still kept much of its charm.
	facweb.cs.depaul.edu /sgrais/winsor_mccay.htm (792 words)

	Cartoonist Group - Background About Winsor McCay
		The concepts that McCay explored in his comic strips, such as progressive action, proved to be useful preparation for his animation.
		Winsor McCay was born either in 1867 in Canada or in 1869 in the United States, in Michigan.
		McCay was to focus on creating editorial cartoons which he did until his contract with Hearst concluded in 1924.
	www.cartoonistgroup.com /properties/daydream/about.php (895 words)

	The History of Gertie
		On February 22, 1914, Winsor McCay presented an animated masterpiece to the public during his vaudeville act in Chicago.
		However, McCay and Gertie were the first to demonstrate the enormous potential of the medium, and together they inspired an entire generation of animators.
		Winsor McCay was born circa 1869 in Canada and came to be regarded as one of the great comic illustrators of his time.
	patmedia.net /kdnathan/Index/Gertie/history.htm (540 words)

	Silent Era : Info : Comparions of Winsor McCay and His Moving Comics film versions
		This shot-for-shot comparison of two versions of Winsor McCay’s first animated film Winsor McCay and His Moving Comics (1911), as available on DVD, is intended to give the viewer a guide to the differences between the two versions.
		Winsor McCay is sitting at a desk, surrounded by the supplies of barrels of ink and large parcels of paper.
		McCay indicates he has heard a knock at the door and moves to the background where the door is located.
	www.silentera.com /info/winsorComp.html (3230 words)

	Childhood Dreams: The Wondrous World of Winsor McCay - Elliott Stein
		Winsor McCay was one of America's greatest cartoonists, a master of both the comic strip and the animated cartoon.
		His masterpiece, Little Nemo in Slumberland, is simply the most beautiful comic strip ever drawn, a surreal fantasy filled with lovely and often disturbing images, created in the sinuous, flowering lines of the highly decorative international Art Nouveau style popular at the turn of the century, and blocked with kinetic, near-cinematic narrative paneling.
		In 1966, When McCay's work was featured in an exhibition at the Metropolitan Museum of Art, Nemo was singled out for high praise by the New York Times' art critic, John Canaday.
	www.worldandi.com /specialreport/1988/May/Sa14582.htm (279 words)

	The Films of Winsor McCay
		To serious animation and cartooning enthusiasts, McCay is a colossus, but to the general public, it is as if he never lived.
		By the same token, McCay's animated films may be the first to be remembered as great, but it is the short films of Walt Disney that were closely watched and imitated by contemporaries.
		McCay can be compared, in a way, to George Washington: father of his country, but with no children of his own.
	www.geocities.com /Hollywood/Academy/7309/mccay.html (1217 words)

	dOc DVD Review: Winsor McCay: The Master Edition (1911-1921)
		Winsor McCay was one of the great masters of sequential art, conquering and developing two different forms in the early 20th century: the newspaper comic strip and the animated cartoon.
		McCay's most famous animated work is Gertie the Dinosaur (1914), and it is here, finally fully restored in 35mm; all prior editions having been made of marriages of 16mm and 35mm material.
		Although McCay fell back on repeated movement quite a bit, there are still some segments that are quite astonishing, considering that he was working on rice paper, not yet cels.
	www.digitallyobsessed.com /showreview.php3?ID=6045 (1275 words)

	Winsor McCay [1871 - 1934] @ EOFFTV
		McCay was soon in great demand, touring up and down the East Coast while putting together as many as three cartoon strips where and when he could, mostly it seems in dressing rooms and hotel rooms after his shows.
		McCay's energy was astounding - not merely content with being a success in print and on the stage, he turned his attentions to a new outlet for his creativity, the still young medium of film.
		McCay seemed to have been particularly affected by the tragedy and in 1918, he created his last major work, The Sinking of the Lusitania - it remains one of the most amazing and affecting animated films ever made.
	www.eofftv.com /names/m/mcc/mccay_winsor_main.htm (1638 words)

	Paul Gravett: Article - Winsor McCay
		McCay may have made only ten short films in all (on DVD from Image Entertainment), but modern animators from Walt Disney and Tex Avery today hail him as a founding father of the medium.
		Today, McCay's whole or restored line originals are highly prized rarities and several are on show currently in two exhibitions, as part of the Masters Of American Comics and in the restored art nouveau Maison Autrique in Brussels.
		At the age of 30, McCay's paranoid brother Arthur, only a few months younger than him, was committed by his parents to an insane asylum, where he stayed till his death, receiving no visits from any of his family.
	www.paulgravett.com /articles/054_mccay/054_mccay.htm (1228 words)

	Movie Habit: Review of Winsor McCay -- The Master Edition (2004), *** 1/2
		Gertie was brought to life by cartoonist Winsor McCay in 1914.
		McCay was an early pioneer in animation whose cartoons stand out for their artistry, visual inventiveness and the personality of their characters.
		McCay was a newspaper cartoonist in the early 20th century.
	www.moviehabit.com /reviews/win_fu04.shtml (648 words)

	The History of Gertie
		On February 22, 1914, Winsor McCay presented an animated masterpiece to the public during his vaudeville act in Chicago.
		However, McCay and Gertie were the first to demonstrate the enormous potential of the medium, and together they inspired an entire generation of animators.
		Winsor McCay was born circa 1869 in Canada and came to be regarded as one of the great comic illustrators of his time.
	www.patmedia.net /kdnathan/Index/xGertie/history.htm (540 words)

	Animation History, Winsor McCay, Max Fleischer
		McCay animated his films almost single-handed; from inception to execution each cartoon was his and his alone.
		Even before McCay had shown the world the true potential of the animated cartoon in his landmark film "Gertie the Dinosaur" (1914), the first animation studios were already around, trying to exploit the medium for what they could.
		It was inevitable, in spite of Winsor McCay's warnings, that animation would become a "trade" in the form of the studio system.
	www.digitalmediafx.com /Features/animationhistory.html (2829 words)

	A BRIEF BIOGRAPHY OF WINSOR McCAY
		Winsor McCay was born in 1867 in Canada.
		At the end of 1903, McCay was being courted by the New York Herald, and promptly moved his family to New York.
		McCay continued to draw editorial cartoons until his death by stroke on July 26th, 1934.
	www.vegalleries.com /old_site/winsorbio.html (805 words)

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