Alberto Becattini is one of those Disney historians who rarely receives the recognition he deserves. He was born in Florence, Italy on September 27, 1955 and — for the last fifty years — he has made major contributions to Disney heritage.
Alberto’s first official contribution to comic work dates back to 1974, when he helped with the chronology in the book “Introduction to Paperino,” (Florence, G. C. Sansoni). In 1978, he founded — along with other fans — a fanzine devoted to Carl Barks and American comics. He has been instrumental in organizing conventions devoted to comics and animated cartoons. For the last decade or so, he has been working as a freelancer-writer and a consultant to Disney Italia. He even translated some Italian Disney comic book stories for Gladstone.
He has authored many books including: “Disney Index” (3 books with writer and artist credits, 1984 – syndicated strips; 1992 – Dell comic books, part 1; and 1994 – Dell comic books, part 2), “Topolino – 60 years “(1993–the history of the popular Italian magazine featuring Mickey Mouse comics), “Disney Comics – The History, The Personages: 1930-1995 “(1995 – the “bible book” of Disney comics), “Don Rosa and Disneyano Rinascimento” (1996), Floyd & Mickey (1998), “Settant years of Fiabe Animate: Silly Symphony” (1999), “Carl Barks: The Man of Goslings” (2001), “Fantastic Walt” (2001) as well as many other non-Disney related books about comic art and artists.
That’s right. The only biography of Disney artist Don Rosa is in Italian. As Alberto told an American Don Rosa website: “Besides an introduction and a first chapter which briefly retells the history of Duck comics from Gottfredson, Al Taliaferro and Barks to the best current artists, different chapters about Don’s life and works. A biographical chapter is followed by one about his underground efforts, ‘Captain Kentucky’ and ‘The Pertwillaby Papers.’ Then comes another philosophical chapter in which the origins of Don’s style are traced, from the early cartoons and comics to Robert Crumb. The next chapter explains how Don builds up a story. Then comes a chapter about Don’s own philosophical references (to Barks, of course). And a long chapter on ‘Life and Times.’ The whole book is interspersed with bits of Frank’s long interview with Don. There are also short bits by other authors, who give their own personal view of Don’s microcosm. The final part of the book is devoted to the Duck Family Tree (with entries for all the main members of the family, as well as for the more obscure ones) and to a checklist of Don’s Disney and non-Disney stories. Unfortunately, the print run and distribution were so limited that very few ‘lucky ones’ were able to actually buy and read it!”
Didler Ghez, who is an authority of foreign Disney books, (and make sure you visit his website which I use constantly as a reference on Disney books) has said, “Alberto Becattini is one of the three utmost experts on Italian and international Disney comics, the other two being Luca Boschi and Leonardo Gori.”
For those of us who don’t read Italian, Alberto has co-authored a book on one of my favorite American Disney comic book artists, Paul Murry! The book is currently only available here in the United States from www.budplant.com at the very reasonable price of about fifteen dollars. Here is the description from Bud Plant’s website:
“PROFILI ALBUM: Paul Murry
Edited by Alberto Becattini and Antonio Vianovi
Mice, Ducks and Cheesecake. During a career that spanned nearly five decades, Paul Murry (1911-1989) was an animator, a magazine cartoonist and a syndicated strip and comic book artist. Although best known as the Mickey Mouse comic-book artist, his other work, like the Buck O’Rue strip and pin-up cartoons also showcased his multiple talents.
Over 30 illustrations, many full page, exhibit Murry’s humor and skills. The oversized format provides a detailed look at his technique, especially his penchant for sexy pin-up ladies. Lots of Disney strips are here, as well as an eight-page color section featuring Buck O’Rue Sunday pages from 1951 and a 10-page section with full-page pin-up work from Pepper.
New large-sized album from Glamour International. A complete appendix lists all works attributed to the artist. English and Italian text. Glamour International, 2002. 9×12, 48 pages, PC. $14.95.”
I bought two copies of this book which is a bargain if you love the work of Paul Murry who among other things did the artwork on all those classic Mickey Mouse serials in the back of “Walt Disney Comics and Stories.” Murry was an assistant to the great Freddy Moore when he worked at Disney and you can see that influence in Murry’s Mickey Mouse comic book work. The “Buck O’Rue” comic strip that is mentioned was written by another of my Disney heroes, storyman *** Huemer (who was teamed with storyman Joe Grant on “Dumbo” and “Baby Weems” among other credits). It is a hilarious satire on cowboys and certainly deserves reprinting by some enterprising publishing company.
I notice that Alberto has included some artwork and research from the work of Disney historian Jim Korkis who has written extensively about Paul Murry including a great article in Paul Anderson’s Persistence of Vision #5 (which can still be ordered here) but since I know that Jim holds Alberto and his work in the highest esteem I am going to assume that Alberto got permission from Jim to include his research especially since Alberto credits Jim’s articles on the last page bibliography.
Paul Murry drew thousands of pages of comics during his career and was one of the few Disney artists who could draw all of the characters. In addition to Mickey, which he drew from 1953 to 1973, Paul Murry drew such diverse characters as Donald Duck, Super Goof, Little Hiawatha, Li’l Bad Wolf, Dumbo, Uncle Remus and Br’er Rabbit. Sadly, Paul Murry passed away on August 4, 1989 without sharing so many of the great stories about his time at the Disney Studio and how he went about creating his art.