McCay also created a number of animated short films, in which every single frame of each cartoon (with each film requiring thousands of frames) was hand-drawn by McCay and occasionally his assistants. For fantasy art in comics, his only rival was Lyonel Feininger, who went on to have a career in the fine arts after his comics days were over. Newspaper pages were physically much larger in that time and McCay usually had a half a page to work with. McCay's cartoons were never overwhelmingly popular, but always had a strong following because of his expressive graphic style.
His strips Little Nemo and Dream of the Rarebit Fiend, published under the pseudonym "Silas", were both set in the dreams of their characters and featured fantasy art that attempted to capture the look and feel of dreams. The stories concerned jungle creatures and the ways that they adapted to a hostile world, with individual titles such as How the Elephant Got His Trunk and How the Ostrich Got So Tall. The strip was based on poems by George Randolph Chester, then a reporter and editor at the Enquirer.
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Little Nemo in SlumberlandMcCay's first major comic strip series was A Tale of the Jungle Imps by Felix Fiddle with 43 installments published from January to November 1903 in the Cincinnati Enquirer. In his The Seven Ages of Man vaudeville act, he drew two faces and progressively aged them. McCay began doing vaudeville chalk talks in 1906. While in Cincinnati he married Maude Leonore Dufour. Two years later, he moved to Cincinnati, Ohio, and went to work as an artist for Kohl and Middleton's Vine Street Dime museum. He worked for the National Printing and Engraving Company, producing woodcuts for circus and theatrical posters. In 1889, McCay moved to Chicago, intending to study at the Art Institute of Chicago, but due to lack of money had to find employment instead. Goodison taught him the strict application of the fundamentals of perspective, which he put to significant use later in his career. While in Ypsilanti, he also received his only formal art training, from John Goodison of Michigan State Normal College (now known as Eastern Michigan University). In 1886, McCay's parents sent him to Cleary's Business College in Ypsilanti, Michigan to learn to be a businessman. Winsor McCay, the boy, loved to draw and was very good at it. His attention to (and memory of) detail was amazing. At the age of 13 he drew a picture of shipwreck on the school blackboard and it was photographed and copies sold. He was raised in Michigan, where he commenced drawing at a prodigiously early age. Winsor, and he quickly dropped Zenas in favor of Winsor. Winsor was named after his father's employer, Zenas G. He was the son of Janet Murray McKay and Robert McKay, who at various times worked as a teamster, a grocer, and a real estate agent.
He claimed to have been born in Spring Lake, Michigan in 1871, but his gravestone says 1869 and census reports state that he was born in Canada in 1867. Little Sammy SneezeWinsor McCay was born Zenas Winsor McKay. His comic strip work has influenced generations of artists, including creators such as William Joyce, André LeBlanc, Moebius, Maurice Sendak, Chris Ware and Bill Watterson. His films set a standard followed by Walt Disney and others in later decades. McCay was a prolific artist and his pioneering early animated films far outshone the work of his contemporaries. For legal reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend. Septem– July 26, 1934) was an American cartoonist and animator, best known for the comic strip Little Nemo (begun 1905) and the animated cartoon Gertie the Dinosaur (1914). ^ a b c d Haverstock, Vance & Meggitt 2000.
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