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Emanuelle
Emmanuelle 1
From the novel by Emmanuelle Arsan.
79 pages, Paperback
First published January 1, 1980
71 people want to read
About the author
Guido Crepax
418 books84 followersGuido Crepax (born Crepas, 1933-2003) was an Italian illustrator and comics author, considered one of the most influential cartoonists of the second half of the 20th century. He is notably remembered for his sophisticated black and white art, as well as his dreamlike storylines, often involving a significative dose of erotism.
Crepax was born and raised in Milan, the son of famed cellist Gilberto Crepas. He graduated in Architecture in 1958, then started a successful career in illustration, mostly for advertisement and record covers.
Crepax began making comics in the middle of the 60's, particularly for the Italian magazine 'Linus'. He is best known for the Valentina series of stories. Originally introduced as a side character in the sci-fi story The Curve of Lesmo (1965), Valentina is a fictional photographer from Milan. She is a cultured strong woman, with sophisticated art and fashion tastes, left-wing political ideals and a marked sexual curiosity. Valentina quickly became a staple of European counterculture of the late 60s and early 70s. The series run for thirty years, until 1995, with the titular character aging in real time.
Over the decades Crepax created other female characters, such as Belinda, Anita, Bianca, Giulietta, usually used as protagonists of erotic comics. His other works include a number of comic book adaptations of erotic novels, like Emmanuelle, Justine, Venus in Furs, Story of O, as well as horror classics Dracula, Frankenstein, Dr. Jekyll and Mr. Hyde.
Crepax was born and raised in Milan, the son of famed cellist Gilberto Crepas. He graduated in Architecture in 1958, then started a successful career in illustration, mostly for advertisement and record covers.
Crepax began making comics in the middle of the 60's, particularly for the Italian magazine 'Linus'. He is best known for the Valentina series of stories. Originally introduced as a side character in the sci-fi story The Curve of Lesmo (1965), Valentina is a fictional photographer from Milan. She is a cultured strong woman, with sophisticated art and fashion tastes, left-wing political ideals and a marked sexual curiosity. Valentina quickly became a staple of European counterculture of the late 60s and early 70s. The series run for thirty years, until 1995, with the titular character aging in real time.
Over the decades Crepax created other female characters, such as Belinda, Anita, Bianca, Giulietta, usually used as protagonists of erotic comics. His other works include a number of comic book adaptations of erotic novels, like Emmanuelle, Justine, Venus in Furs, Story of O, as well as horror classics Dracula, Frankenstein, Dr. Jekyll and Mr. Hyde.
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Displaying 1 - 3 of 3 reviews
April 10, 2023
6th printing
Before the story begins OR afterwards make sure to read Terry Nantier's brief intro and take time to really examine the theme-titled art spread that follows. I was especially captivated by the Anita pages from early in his career because they had a thickness of line and form that I haven't yet seen throughout the five or six later works of which I'm accustomed. The firmness or "fix-id-niss" seduced me into a stationary focus that opened, for me, a whole new dimension of Guido Crepax since I'm accustomed to...
Crepax is a MASTER of movement- it would have been a TRAGEDY if he didn't work in sequential art narrative. I love how he draws people/places/things but even if you hated (impossible) the way his subject matter were rendered/detailed- you would be FORCED to admit that its motion is LEGENDARY!
I'll continue lavishing praise (and finding some faults) in my reviews of the middle and closing volumes but I can't resist pointing out two "quirks" that are EXCLUSIVELY Crepax which appear regularly within these pages:
->For reasons I can't even guess he constantly makes the head of the penis look like a tight female tush (urethra being the butt-crack) instead of a typical male corona. Maybe it wouldn't be as odd if he didn't draw the head of a snake PERFECTLY when he perfectly rendered a boa as a metaphallis in this very book.
->The protruding chin is not a good look on women but he's the only artist I've ever seen who makes under-bites look SEXY. His U.B.P.F.R (under-bite per female ratio) is shockingly high throughout his work and I LOVE IT because it gives them such a uniquely seductive look- when they're vivacious in the throws of passion AND especially when they're oozing in post-coital languorousness!
Before the story begins OR afterwards make sure to read Terry Nantier's brief intro and take time to really examine the theme-titled art spread that follows. I was especially captivated by the Anita pages from early in his career because they had a thickness of line and form that I haven't yet seen throughout the five or six later works of which I'm accustomed. The firmness or "fix-id-niss" seduced me into a stationary focus that opened, for me, a whole new dimension of Guido Crepax since I'm accustomed to...
Crepax is a MASTER of movement- it would have been a TRAGEDY if he didn't work in sequential art narrative. I love how he draws people/places/things but even if you hated (impossible) the way his subject matter were rendered/detailed- you would be FORCED to admit that its motion is LEGENDARY!
I'll continue lavishing praise (and finding some faults) in my reviews of the middle and closing volumes but I can't resist pointing out two "quirks" that are EXCLUSIVELY Crepax which appear regularly within these pages:
->For reasons I can't even guess he constantly makes the head of the penis look like a tight female tush (urethra being the butt-crack) instead of a typical male corona. Maybe it wouldn't be as odd if he didn't draw the head of a snake PERFECTLY when he perfectly rendered a boa as a metaphallis in this very book.
->The protruding chin is not a good look on women but he's the only artist I've ever seen who makes under-bites look SEXY. His U.B.P.F.R (under-bite per female ratio) is shockingly high throughout his work and I LOVE IT because it gives them such a uniquely seductive look- when they're vivacious in the throws of passion AND especially when they're oozing in post-coital languorousness!
May 11, 2015
Crepax straddles hard and soft-core with this take on Emmanuelle Arsan's Emmanuelle, in the first volume of his version. It's pretty explicit, but not quite over the edge into porn. The narrative's virtually incoherent, dreamlike sequences basically segueing from one sexual encounter to another, with lots of interesting page design, animal metaphors, and a genuinely decadent feel to the art. I wouldn't call it a success, entirely, but it's certainly done with a sense of conviction.
November 24, 2012
Yes, I admit, I'm a doirty old-man ;-)
But when you are faced with artwork so amazing as that as Guido Crepax, I guess you can be forgiven. His simple line style is so sensuous, his women are so gorgeous. Your eyes follow the curves of his artwork and you can practically feel your hands caressing the soft skin of his illustrated women.
But when you are faced with artwork so amazing as that as Guido Crepax, I guess you can be forgiven. His simple line style is so sensuous, his women are so gorgeous. Your eyes follow the curves of his artwork and you can practically feel your hands caressing the soft skin of his illustrated women.
Displaying 1 - 3 of 3 reviews