Thomas Fels

Det 19:e och hittills tjockaste (104 sidor!) numret av antologiserietidningen Svenska Superserier. Temat för numret är skräck. En gestalt kallad Berättaren guidar dig mellan historierna, av vilka en är epilogen till crossoverföljetongen "Förgöraren" men de flesta är helt fristående. Det blir spöken, vilddjur, superhjältar, folktro, robotapokalyps och vanliga allmänna monster. Och utöver själva serierna innehåller tidningen även en intervju med Andreas Eriksson gällande svenska utgivningen av den italienska skräckserien "Dylan Dog". Och en tillhörande tävling. Och lite annat. Innehåll 3 — Ledare4 — "Skyttegraven" av Viktor Matiesen21 — "Skuggornas fort" av Jan Hoff29 — Tävling: Vinn "Dylan Dog: De dödas planet"!30 — "Den enda" av Thomas Fels33 — "Magikonsult: Bäckahästen" av Magic Frigren40 — "Ivan Monsterjägare: Gastar bäst som gastar sist" av Daniel Lenneér45 — "The end" av Simon Petersen55 — Superserieskapartips56 — Skaparpresentationer58 — "Förgöraren" av Sebastian Sandberg74 — Intervju: Andreas Erikssson79 — "Nordens Stjärnor: I mörkret" av Daniel Schenström85 — "Nordens Stjärnor: Det spökar" av Thomas Fels och Ulrika Balla98 — Butiksguide102 — I kommande nummer103 — "Golden Gang" av Daniel SchenströmRedaktion: Johan Ragnarsson, Daniel Schenström, Håkan Storsaeter, Akari Lindell, Viktor Matiesen, Richard Pålvik, Sebastian Sandberg#SvenskaSuperserier http://www.svenskasuperserier.se/

Frederic Church (1826–1900), who gained international renown for paintings such as Niagara (1857), Heart of the Andes (1859), Twilight in the Wilderness (1860), and The Icebergs (1861), was inspired by his extensive travel and study. His work was also informed by his appreciation of a new visual medium. Fire & Ice, a selection from the several thousand photographs and daguerreotypes Church collected at Olana, his Orientalist home on the Hudson River, provides insight into the interests and taste of one of nineteenth-century America's greatest painters. Church was a boy of thirteen when the invention of photography was announced to the world. As a painter, he was of the first generation to grow up with photographs and consider them a useful adjunct to his work. Church collected photographs and daguerreotypes by early pioneers of the art, including Désiré Charnay, Eadweard Muybridge, and Carleton Watkins. His collection appears to have served largely as a source of inspiration and armchair travel, reminding him of favorite locations and details of architecture, culture, and landscape. In Fire & Ice, images from Church's collection are shown along with a selection of his own oil sketches, drawings, and archival materials. Some of the photographs are devoted to the varied geographical interests reflected in Church's art and travels: Central and South America, the Middle East, and the polar North. Others served as visual reference for the design and construction of Olana. Lavishly illustrated, Fire & Ice shows how the photographs in Church's collection echoed the principal stages of the painter's career.