Beowulf

Joseph Anthony Mugnaini

A lithograph by Joseph Mugnaini in 1953, working with the California Master Printer, lithographer Lynton Kistler. From a series of mythological themes done in editions of 20. This impression is accompanied by an 'authentication' from Kistler and signed by Mugnaini.

Beowulf is a legendary 6th century hero based upon an Anglo-Saxon Epic poem from the 7th century. Beowulf became king of the Geats and decades later he was mortally wounded in his final battle with a dragon. In fear, his army deserted him save for Wiglaf who witnessed the death of his king and the dragon.

Joseph Anthony Mugnaini was born Giuseppe Mugnaini in Viareggio, Tuscany, Italy, on 12 July 1912. Shortly after his birth his family emigrated to the United States and settled in Riverside, California. Eleven years later they moved to Los Angeles and, in 1941, Mugnaini became a naturalized citizen.

He attended the Otis Art Institute in Los Angeles from 1940 to 1942, before serving the U.S. Army during World War II. After his discharge, Mugnaini returned to Otis Art Institute on the G.I. Bill and three months later he joined the faculty of Otis where he eventually became head of the Drawing Department. He retired in 1976.

Author of five books on art techniques and materials, he is best known as being the primary illustrator of the science fiction books of Ray Bradbury. Mugnaini began his long-time collaboration with Bradbury in 1952, during which time he interpreted and illustrated many of Bradbury's books, including "Fahrenheit 451" through the "Martian Chronicles". Mugnaini earned an Academy Award nomination and the Golden Eagle Award for his paintings for the film "Icarus," a Bradbury collaboration.

John C. Tibbetts interviewed Mugnaini and he later described his essence: "I will never forget the bristling energy and vitality of Joseph Mugnaini. I can still see him, scowling amiably at me from beneath his hat brim, bursting into hearty laughter and expostulations as he as he talked. His hands were always in motion, and after finding some note paper in my hotel room, he happily scrawled away, the restless lines dashing and skittering across the surface in quick, rapier-like jabs and thrusts. He seemed to be conducting with the pen, as an orchestra leader would gesture and cajole sounds from his players. His dynamic lines seemed to gather themselves of their own accord into forms which coalesced into living images."