Guido Gendolla directs the Geneva Motivation Lab and the research group on the psychology of motivation at the Section of Psychology of the University of Geneva. His major research interest is the study of factors determining effort mobilization during …
Guido Crepax 1978. Art Details. Artist: Guido Crepax (All) Media Type: Pen and Ink. Art Type: Interior Page. For Sale Status:
Comics have moved on at a pace and though Crepax’s line will still startle and impress his style harks back to his own ground-breaking period in which during the late sixties in France Jean Claude Forest unleashed Barbarella (1964) into pop culture and in Italy Guido Crepax set about completely restructuring the comic strip per se with the help of his very own ‘damsel in distress’ – Valentina.
Guido Crepax graduated in Architecture from Milan University in 1958, but aside from designing some stands for the Fiera di Milano in that year, he never worked in this profession. Influences Among Guido Crepax's early graphic influences were the American record cover designer David Stone Martin, the social-realism of Ben Shahn and the Wagner illustrations of Arthur Rackham.Estimated Reading Time: 8 mins
Collection: Guido Crepax Guido Crepax was born in Milan, Italy, in 1933. After acquiring a degree in architecture, he worked on award-winning advertising campaigns for such corporations as Shell and Dunlop.
Silvestrini, N. Die Theorie der Laienepistemologie und weitere Modelle motivierten Denkens. Jekyll and Mr. Implicit happiness and sadness are associated with ease and difficulty: Evidence from sequential priming. Behavioural Brain Research, , Shortly after introducing Valentina, Crepax created 'Belinda', a rock 'n' roll heroine on a motorcycle, armed with a bicycle chain. Just like Valentina, events in the Bianca stories are an ongoing mix of reality, nightmare and fantasy. Effort as assessed by motivational arousal in identity-relevant tasks. Biological Psychology, 84 , October Ph. His major research interest is the study of factors determining effort mobilization during cognitive tasks, using psychophysiological research methods. Ego-Involvement and the difficulty law of motivation: Effects on performance-related cardiovascular response. In a late s interview with Adriana Lobelia, Crepax expressed he didn't see himself as part of Italy's more vulgar erotic culture. Ego involvement moderates the assimilation effect of affective expectations. Adaptive Human Behavior and Physiology, 4 , Between and Valentina was a regular in the French monthly Charlie Mensuel. Corto Maltese magazine serialized his sensual rendition of Bram Stoker's 'Dracula' in Motivation and Emotion, 34 , Self-focused attention, performance expectancies, and the intensity of effort: Do people try harder for harder goals? An important aspect of Crepax' eroticism were the expressions of his characters. Implicit affect primes effort: Theory and research on cardiovascular response. Brinkmann, K. Does depression interfere with effort mobilization? On the impact of mood and depressive symptoms on effort-related cardiovascular response. In he branched out into animation, designing a series of animated cartoons for Italian television. Stimmungs-Verhaltens-Modell [mood-behavior-model]. Soziale Informationsverarbeitung. Self-focus and task difficulty effects on effort-related cardiovascular reactivity. Crepax was thirty-two when he created Valentina, a late-comer perhaps, but certainly by then an experienced draughtsman. Shaw Ed. The role of mood states in self-regulation: Effects on action preferences and resource mobilization. He had just turned 70 earlier that month. Guido Crepax graduated in Architecture from Milan University in , but aside from designing some stands for the Fiera di Milano in that year, he never worked in this profession. The role of self-involvement in the development of cardiovascular disease: A motivational analysis. Mood effects on effort mobilization in learning: Theory and experimental evidence. Context-dependent mood effects on mental effort mobilization: A view from the Mood-Behavior-Model. Emotion Review, 9, Motivation and Emotion, 33 , Graphically, Crepax was a perfectionist with a keen eye for detail. Consciousness and Cognition, 17 , Aachen, Germany: Shaker Verlag. Their dreamlike adventures balance between reality and fantasy, and are filled with graphic scenes of hetero-, homo- and bisexuality, sadomasochism, bondage and bestiality. Brehm Eds. Acknowledging the daring nature of his comics Crepax maintains his adult audience must be capable of seizing the ambiguities behind appearances, distinguishing the true fantasies from stark reality. Motivationale Erregung und statisches Denken. Journal of Personality and Social Psychology, 94 , The result was a form of aesthetic pornography with a focus on emotion instead of the actual act. Linnenbrink-Garcia Eds. Recognition As early as , director Corrado Farina made the short documentary film 'Freud a fumetti' , which explored the comics of Guido Crepax. Bounded effort automaticity: A drama in four parts. Lane Ed. Then, just like in his childhood, he adapted Stevenson's 'Dr.
Deliriums and Desires…. Roland Barthes. Once upon a time in a North London book shop, long before its management became politically correct about its stock, Story of O by Italian comic strip wizard Guido Crepax could for a short while be purchased as a classy hardcover coffee table edition in French from publisher Jean Jacques-Pauvert. Indeed the Grove Press paperback of Story of O had a total of 34 pages missing from the original, due seemingly to economic rather than moral censorship. But now the lean years are over. For the Crepax fan yes, but for the general reader perhaps not. Valentina, the sophisticated Milanese photographer pursued relentlessly by sadistic Nazis, astronauts, 17th-century pirates, and leather-booted Czarist Cossacks, made her first appearance in the spring of appearing in the second issue of Linus, an Italian magazine devoted to comic-strip art to which friends asked Crepax to contribute. Crepax was thirty-two when he created Valentina, a late-comer perhaps, but certainly by then an experienced draughtsman. At twenty-five, he had graduated from the University of Milan with a degree in Architecture. Publicity work followed for companies such as Shell, Dunlop, Terital, and Fujica, then for several years Crepax supported himself by illustrating book covers and record sleeves, particularly for jazz recordings, and by contributing illustrations to magazines such as the medical journal Tempo Medico. In a series of extravagant and often surreal adventures, Valentina would soon know the rages of bisexuality, autoerotic ecstasy, super-sensual abandon, and the sadomasochistic delirium. Her body given up without inhibition, fragmented on the page and scrutinized in minute detail in a style of syncopated editing which reminded critics of the French films of the sixties, the nouvelle vague, — Valentina would now scandalize many readers in Italy and abroad and be the inspiration for a series of similar sexy and captivating heroines who would keep Crepax busy at his drawing board for years to come. Acknowledging the daring nature of his comics Crepax maintains his adult audience must be capable of seizing the ambiguities behind appearances, distinguishing the true fantasies from stark reality. The extraordinary things that my poor young girls in love undergo — Valentina, and Bianca, Anita and Justine, Emmanuelle and Madame O — have nothing to do with the treatises on sexual psychopathology of Richard von Krafft-Ebing: they are only visionary exercises, imaginary madness transferred onto paper, deliriums, desires ruled by a purely cerebral mechanism… what interests me more than anything else is that the game never becomes obscene, that it is never trapped by vulgarity. Have a look at them, the girls on display… however they might be bound, frustrated, constrained, imprisoned, compressed or struck… there is never one single drop of blood. The blow on their skins in the end never leaves more of a mark than a firm embrace. The erotic intrigues and embraces which torment Valentina are of course by necessity, almost always nothing more than dreams, oneiric projections, surreal adventures beyond the real. Time and again Crepax reinvents the layout of his page and in story-board fashion, the pictures tell the story almost to the exclusion of traditional balloon-enclosed dialogue. In the Valentina story, Magic Lantern dialogue is in fact dispensed with altogether. The story unfolds like an adult fairy tale, familiar territory for Crepax. With consummate skill, he takes every opportunity presented by this sadomasochistic literary classic to busy his pages with all manner of menace, stylized violence, eroticism, and sex. Whips, masks, erect penises, rounded breasts, and marked buttocks proliferate. But here and there this rigid geometry is under threat of collapse, of being sucked into some threatening void which is about to open up in the background, amongst the clutter of opulent furnishings, drapes or architecture. We are reminded that the progression from Valentina! Pursued through labyrinthian perils, raped, whipped, and entangled in all manner of bizarre Heath-Robinson-like torture machines, they always emerge, however, Pheonix-like from their ordeals. Crepax leaves an indelible impression. Take a look at these long-awaited volumes from Taschen. You might either adore him or loathe him but without a doubt, there will never be another comic book artist quite like Guido Crepax. I have no desire to serve as a model. My universe is truly my own. Deliriums and Desires… by Stefan Prince, an article written in the spring of and published in Skin Two magazine Loading Comments Email Required Name Required Website.
Petermann, G. Implicit affect and the intensity of motivation: From simple effects to moderators. Lane Ed. In the comic book, Crepax criticized the power of mass media through a weird erotic dream of a girl who has a sexual relationship with her television set. His characters are well-read. Emotion Review, 9, He is especially interested in the role of explicit and implicit affective influences on human behavior and the role of the agentic self in motivation. Deliriums and Desires… by Stefan Prince, an article written in the spring of and published in Skin Two magazine It was added to the Netflix catalogue in May Commentary: Do emotions influence action? Between and Valentina was a regular in the French monthly Charlie Mensuel. He had just turned 70 earlier that month. Prime visibility moderates implicit anger and sadness effects on effort-related cardiac response. The adventures of 'Giulietta e Romeo' were serialized in Comic Art, and loosely referred to Shakespeare's tragic love story and the nymphomaniac protagonist of the Marquis de Sade's 'Juliette' novel. His work however hides many deeper layers and cultural references. Implicit affect primes effort: Basic processes, moderators, and boundary conditions. De Burgo, J. The real time events are alternated with flashbacks, fantasies and nightmare sequences, mostly filled with graphic eroticism. Dreaming of white bears: The return of the suppressed at sleep onset. Chapters in edited books and series Gendolla, G. We are reminded that the progression from Valentina! Aachen, Germany: Shaker Verlag. The informational impact of mood on effort mobilization: A study of cardiovascular and electrodermal responses. Motivation and Emotion, 23 , Shohov Ed. Motivation and Emotion, 25 , Brehm Eds. Cognition and Emotion, 27 , Three decades of research on motivational intensity theory: What we have learned about effort and what we still don't know. The film had poor box-office results due to bad distribution in Italy. Vandel Eds. Emotion, 2 , Are moods motivational states? Guido picked up drawing from an early age. Psychological Science, 21 , Commercial artist Unsurprisingly, Guido Crepax' first professional artistic endeavours were related to the music industry. Loading Comments Motivation und Emotion. The 'Valentina' episode 'Storia di una storia' "Story of a Story", was a reinterpretation of Georges Bataille's scandalous novella 'Storia dell'occhio' On introspection and self-perception: Does self-focused attention enable accurate self-knowledge? Task difficulty effects on cardiac activity. Pursued through labyrinthian perils, raped, whipped, and entangled in all manner of bizarre Heath-Robinson-like torture machines, they always emerge, however, Pheonix-like from their ordeals. Drawing for his Shell campaign. Advances in Motivation Science, 3, Shaw Ed. Weinheim: Beltz. This culminated in Crepax's erotic comics adaptations of classic literature later in his career. Take a look at these long-awaited volumes from Taschen. Motivation and Emotion, 32 , Franzen, J. Psychophysiology, 38 , Journal of Applied Social Psychology, 29 , Biological Psychology, 87 , Psychophysiology, 44 , Danbury, CT: Grolier.
Guido Crepax was an Italian comic artist and illustrator, known for his depictions of elaborate and aesthetic erotic fantasies. Nicknamed the "Raphael of Comics", his stories featured heroines such as Belinda, Bianca, Emmanuele and, his signature character, Valentina Their dreamlike adventures balance between reality and fantasy, and are filled with graphic scenes of hetero-, homo- and bisexuality, sadomasochism, bondage and bestiality. They, however, also offer an insight into their author's intellectual luggage; many Crepax stories contain literary, political and philosophical references. This culminated in Crepax's erotic comics adaptations of classic literature later in his career. A staple of the Italian alternative magazines Linus, Alter Alter and Corto Maltese, Guido Crepax was an innovator of Italian comics in general, and of erotic art specifically. While the official spelling of his last name is Crepas, most family members are known under the name Crepax. Guido picked up drawing from an early age. Music also played an important role in the Crepas household. Father Gilberto Crepax was a prominent cello player, who had toured the USA with the Scala orchestra, and became a professor at the Milanese Conservatory later in life. His upbringing gave Guido a lifelong passion for jazz, classical music and opera, which he often referred to in his later comics. Drawing for his Shell campaign. Commercial artist Unsurprisingly, Guido Crepax' first professional artistic endeavours were related to the music industry. Other notable works were illustrations for the 'Piccola Bibliotheca Ricordi' library with New Orleans compositions and traditional jazz, and the original single release of Domenico Modugno's signature hit 'Nel blu dipinto di blu' popularly known as 'Volare' , the Italian submission to the Eurovision Song Contest. Crepax also made cover drawings for the Italian editions of the digest-sized 'Galaxy Science Fiction' magazine series, and faithfully provided the medical periodical Tempo Medico with cover illustrations from its start in until the mids. The self-taught commercial artist was also active in the field of advertising. He won a Palme d'Or for his advertising campaign with racing cars for Shell Oil. He developed the advertising character Terry for Rhodiatoce, an Italian company specialized in synthetic fiber, and did campaigns for Campari, Biraghi Dunlop and Fujica. Guido Crepax graduated in Architecture from Milan University in , but aside from designing some stands for the Fiera di Milano in that year, he never worked in this profession. Valentina Guido Crepax made his first comics in , when he began an enduring association with the new, alternative comics monthly Linus. His first contribution was the fantasy detective serial 'Neutron' May , about art critic Philip Rembrandt and his secret superhero persona Neutron. Fighting crime, Neutron is able to paralyze people and pause time with his gaze. His girlfriend, the photographer Valentina Rosselli, was a mere side character in the first story 'La Curva di Lesmo', but quickly took center stage. With her thick, black bob hair, big eyes and sensual body, Crepax based the looks of his heroine on the silent movie actress Louise Brooks Over the course of his career, Crepax made a great many longer and shorter stories with Valentina. Originally a staple in Linus, the series later appeared in Corto Maltese and Comic Art, but also became popular abroad. Between and Valentina was a regular in the French monthly Charlie Mensuel. Italian book collections appeared at Milano Libri Edizioni. Up until the early s, the stories are mostly genre-based, constructed around fantasy and science fiction plots. They introduced a subterranean population 'I Sotterranei', , an alien robot 'Valentina con gli stivali', and Baba Yaga, a witch from the underworld 's 'Baba Yaga' and subsequent stories , among other things. The real time events are alternated with flashbacks, fantasies and nightmare sequences, mostly filled with graphic eroticism. As the characters gradually became more and more realistic, fantastic elements like Philip's supernatural powers were dropped in favour of Valentina's emotional life. Still, the stories follow an ongoing narrative, as the author regularly referred to previous chapters. For instance, one of Valentina's dreams in 'Il Bambino di Valentina' "Valentina's Child", wasn't explained until five episodes later, in the story 'Annette' Valentina and Philip age over the course of the stories although not in real time , making the reader a voyeuristic witness of how their relationship develops from their first meeting to their marriage and the birth of their daughter Mattia. The film had poor box-office results due to bad distribution in Italy. Stand-alone stories Like the original Valentina stories, other early comics by Guido Crepax had weird fantasy and sci-fi plots as well. Other heroines Most of Crepax' stories were however centered around sensual females. Shortly after introducing Valentina, Crepax created 'Belinda', a rock 'n' roll heroine on a motorcycle, armed with a bicycle chain. The pop art-inspired 'Belinda contro i Mangiadischi' "Belinda against the Record Eaters', was described as a "sci-fi musical in beat time", and serialized in the daily Giovani. In , Crepax drew a second installment, which was published directly in book format. Bianca debuted in and had a more durable career. First appearing in the story 'La Casa Matta' "The Mad House", in the New Kent monthly, the boarding school girl Bianca is constantly thrown from one sadomasochistic adventure into the other. Just like Valentina, events in the Bianca stories are an ongoing mix of reality, nightmare and fantasy. This story featured the sexy girl in a free interpretation of Jonathan Swift's 'Gulliver's Travels'. Later Bianca stories were published in Il Grifo magazine in In the comic book, Crepax criticized the power of mass media through a weird erotic dream of a girl who has a sexual relationship with her television set. Some installments were serialized in the magazine Eureka.