His drawings and prints have been exhibited in museums and galleries around the world. This combined, definitive edition includes Maus I: A Survivor’s Tale and Maus II.Īrt Spiegelman is a contributing editor and artist for the New Yorker. Maus studies the bloody pawprints of history and tracks its meaning for all of us. This astonishing retelling of our century’s grisliest news is a story of survival, not only of Vladek but of the children who survive even the survivors. Against the backdrop of guilt brought by survival, they stage a normal life of small arguments and unhappy visits. Vladek’s harrowing story of survival is woven into the author’s account of his tortured relationship with his aging father. Its form, the cartoon (the Nazis are cats, the Jews mice), shocks us out of any lingering sense of familiarity and succeeds in ‘drawing us closer to the bleak heart of the Holocaust’ (The New York Times). Maus approaches the unspeakable through the diminutive. The Pulitzer Prize-winning Maus tells the story of Vladek Spiegelman, a Jewish survivor of Hitler’s Europe, and his son, a cartoonist coming to terms with his father’s story. ‘The first masterpiece in comic book history’ The New Yorker ‘The most affecting and successful narrative ever done about the Holocaust’ (Sept.The Complete Maus by Art Spiegelman – the Pulitzer prize-winning Holocaust survivor story Ultimately, this well-rounded retrospective of an renowned artist's eclectic career is an illuminating read and makes for an exciting cultural artifact. Hoberman celebrates Spiegelman's duality, noting that the artist "works in the gap between art and commerce, the exalted and the debased.often without a net" and art historian Robert Storr provides detailed analysis of Maus, exploring its themes, narrative, and artistic techniques. The retrospective also includes Spiegelman's designs for book and album covers, a peek into the artist's sketchbook, and his foray into stone lithography. In 2004, Spiegelman published In the Shadow of No Towers, his comic response to 9/11in the style of "collage where incongruous images could be juxtaposed" alongside his personal narrative of the event.
The images included provide insight into Spiegelman's meticulous process in creating Maus, of which he remarked "in the time that other artists can draw forty pages, I can draw one page forty times." The book also features many of Spiegelman's controversial 1990's New Yorker covers and autobiographical comics, including one depicting a visit with Maurice Sendak. The editors trace his career from commercial work for Playboy to his underground, experimental work, including the Raw anthology where he first serialized Maus. A companion piece to a retrospective exhibition, this book collects some of Spiegelman's best work spanning nearly six decades along with biographical information and critical essays.
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