The comic strip Peanuts means different things to different people: for some, it’s all about the crazy antics of Snoopy and Woodstock; others will think of Charlie Brown and his gang of misfits, with their eccentricities and their problems; for many, it’s the animated TV specials that appeared every holiday season (and still do), with the teacher who
would say, “Wah wah wah.” Everyone with even a passing familiarity with the strip will know some of its key tropes: Charlie Brown’s “good grief” miserabilism, Linus’s security blanket, Schroeder’s piano, Snoopy’s doghouse, Lucy’s psychiatry stand. At its peak, the daily Peanuts comic strip was read by 355 million people in 21 languages across 75 countries. To those who grew up with Peanuts, it remains an indelible part of their makeup.
This book explores the world of Peanuts in all its many forms, bringing together some wonderful visual material from the Charles M. Schulz Museum in Santa Rosa, California, some of which has never before
been published. Showcased are original comic strips, preparatory sketches, and other artworks by Schulz—including drawings done when he was at school and in the army during World War II—along with evocative memorabilia from the 1950s to the present day.
已经出版了。展出的是舒尔茨的原创连环漫画、预备草图和其他艺术作品，包括他在二战期间在学校和军队中绘制的图纸，以及从20世纪50年代到今天的令人回忆的纪念品。 Charles M. Schulz was raised during America’s harshest economic downturn, the Great Depression, which lasted for 10 years beginning in 1929. From boyhood, he shared a love of comic strips with his father
and had an ambition to draw one himself. With single-minded focus, Schulz pursued his dream and drew constantly through his youth and into young adulthood, where his first jobs post-war were in the field of art and cartooning.
他有一个雄心壮志，想亲自画一幅。凭借一心一意的专注，舒尔茨追求他的梦想，并在青年时期不断画画，进入青年时期，战后他的第一份工作是在艺术和漫画领域。 Schulz’s first strip, Li’l Folks, ended its run in January 1950. On October, 2, 1950, his new strip, Peanuts, debuted. The first decade of the strip saw its major characters established: Charlie Brown, Lucy, Linus, Schroeder, Snoopy, and Sally. Many of the strip’s major themes were also
introduced, including Lucy holding the football for Charlie Brown,Snoopy’s happy dance, Lucy’s psychiatry booth, Charlie Brown’s baseball team, Linus’s security blanket and the Great Pumpkin, and Schroeder’s piano. By the end of the decade the strip was established across the United States and beyond.
介绍，包括露西为查理·布朗主持足球、史努比的快乐舞蹈、露西的精神病治疗室、查理·布朗的棒球队、莱纳斯的安全毯和大南瓜，以及施罗德的钢琴。到本世纪末，该地带在美国及其他地区建立起来。 “It seems beyond the comprehension of people that someone can be born to draw comic strips, but I think I was.” —Charles M. Schulz
“人们似乎无法理解一个人生来就可以画连环画，但我想我是的。”-查尔斯M。舒尔茨 The characters in Peanuts have a unique anatomy that helped them to stand out on crowded newspaper pages. In 1950, most child characters in comic strips, such as Hank Ketcham’s Dennis the Menace, were three heads tall with relatively normal proportions. Schulz’s characters were just two heads tall, with heads that were about the same height as the rest of their bodies. Despite his remarkably consistent penwork
《花生》中的人物有着独特的解剖结构，帮助他们在拥挤的报纸版面上脱颖而出。1950年，连环漫画中的大多数儿童角色，如汉克·凯查姆（Hank Ketcham）的《丹尼斯的威胁》（Dennis the Nemage），都有三个头高，比例相对正常。舒尔茨笔下的人物只有两个头高，头与身体其他部分的高度大致相同。尽管他的笔迹非常连贯
and art style, changes did take place over the years. “Every cartoonist refines and changes his characters as he goes along,” said Schulz in 1975.
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国家地理英文教材练习册_DK原版书籍_剑桥牛津杂志桥梁书-悠悠乐英语资源 » DK the peanuts book a visual history of the iconic comic strip标志性漫画的视觉历史-花生漫画