{"id":13989,"date":"2013-07-09T02:02:00","date_gmt":"2013-07-09T01:02:00","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=13989"},"modified":"2013-07-09T02:02:00","modified_gmt":"2013-07-09T01:02:00","slug":"the-poster-art-of-frank-mccarthy","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2013\/07\/09\/the-poster-art-of-frank-mccarthy\/","title":{"rendered":"The poster art of Frank McCarthy"},"content":{"rendered":"

\"mccarthy06.jpg\"<\/a><\/p>\n

The Venetian Affair (1967).<\/em><\/p>\n

“Murder! Spies! Women!” If you added “guns” and “explosions” to that list you’d have the ingredients of the wild poster art of Frank McCarthy (1924\u20132002). I used to love posters like this when I was a boy, especially those from the everything-happening-at-once school which, by the look of these examples, was McCarthy’s specialty. Where action films are concerned the posters are often more exciting than the scenes they depict, in part because artists such as McCarthy were often working from their own imaginations as much as from any stills they’d been given.<\/p>\n

\"mccarthy04.jpg\"<\/a><\/p>\n

The Caper of the Golden Bulls (1967).<\/em><\/p>\n

McCarthy had a career painting Western scenes which explains why his horses are so good. Some of his posters are for very well-known films, including a couple of Bond pictures, but I prefer those where he evidently had more of a free reign. The painting for The Caper of the Golden Bulls<\/em> is a great composition with a use of colour you wouldn’t see today. Below there’s an example of the colossal title lettering that Terry Gilliam used to enjoy parodying<\/a>. I still wonder which film did this first. Was it Ben-Hur<\/em><\/a>? See more of Frank McCarthy’s poster art here<\/a>.<\/p>\n

\"mccarthy01.jpg\"<\/a><\/p>\n

Genghis Khan (1965).<\/em><\/p>\n

\"mccarthy02.jpg\"<\/a><\/p>\n

Around the World Under the Sea (1966).<\/em><\/p>\n

<\/p>\n

\"mccarthy03.jpg\"<\/a><\/p>\n

Judith (1966).<\/em><\/p>\n

\"mccarthy05.jpg\"<\/a><\/p>\n

The Long Duel (1967).<\/em><\/p>\n

\"mccarthy07.jpg\"<\/a><\/p>\n

Dark of the Sun (aka The Mercenaries) (1968).<\/em><\/p>\n

\"mccarthy08.jpg\"<\/a><\/p>\n

Danger: Diabolik (1968).<\/em><\/p>\n

\"mccarthy09.jpg\"<\/a><\/p>\n

They Came to Rob Las Vegas (1968).<\/em><\/p>\n

\"mccarthy10.jpg\"<\/a><\/p>\n

Krakatoa, East of Java (1969).<\/em><\/p>\n

Previously on { feuilleton }
\n\u2022 The poster art of Vic Fair<\/a>
\n\u2022 Petulia film posters<\/a>
\n\u2022 Lucifer Rising posters<\/a>
\n\u2022 Wild Salom\u00e9s<\/a>
\n\u2022 Druillet\u2019s vampires<\/a>
\n\u2022 Bob Peak revisited<\/a>
\n\u2022 Alice in Acidland<\/a>
\n\u2022 Salom\u00e9 posters<\/a>
\n\u2022 Polish posters: Freedom on the Fence<\/a>
\n\u2022 Kaleidoscope: the switched-on thriller<\/a>
\n\u2022 The Robing of The Birds<\/a>
\n\u2022 Franciszek Starowieyski, 1930\u20132009<\/a>
\n\u2022 Dallamano\u2019s Dorian Gray<\/a>
\n\u2022 Czech film posters<\/a>
\n\u2022 The poster art of Richard Amsel<\/a>
\n\u2022 Bollywood posters<\/a>
\n\u2022 Lussuria, Invidia, Superbia<\/a>
\n\u2022 The poster art of Bob Peak<\/a>
\n\u2022 A premonition of Premonition<\/a>
\n\u2022 Metropolis posters<\/a>
\n\u2022 Film noir posters<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

The Venetian Affair (1967). “Murder! Spies! Women!” If you added “guns” and “explosions” to that list you’d have the ingredients of the wild poster art of Frank McCarthy (1924\u20132002). I used to love posters like this when I was a boy, especially those from the everything-happening-at-once school which, by the look of these examples, was … Continue reading “The poster art of Frank McCarthy”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,7,48],"tags":[1320,4964,461,123,1835],"class_list":["post-13989","post","type-post","status-publish","format-standard","hentry","category-art","category-film","category-illustrators","tag-bob-peak","tag-frank-mccarthy","tag-lucifer","tag-salome","tag-terry-gilliam"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3DD","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/13989","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=13989"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/13989\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=13989"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=13989"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=13989"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}