Posted By Dan Greenfield on Mar 22, 2025 | 4 comments

A BIRTHDAY TRIBUTE…

By PETER BOSCH

Bernie Krigstein (Mar 22, 1919-Jan. 8, 1990) was more than a superb comic artist… he was a great designer of comic book art, especially in his two years at EC. His training was at Brooklyn College and he was already a serious artist and painter by 1942 when he chose to enter the field of comic books. That decision was reluctantly made but was a practical one. He knew he would likely be called up for World War II service at any time and he wanted extra money to help provide for his wife, Natalie.

Krigstein joined the Bernard Baily Studio, which packaged stories and artwork for comic book publishers but, just like he predicted, he was soon drafted. Baily rehired him upon his return in late 1945, but he left there not long after to join another packager, Funnies Inc. (Natalie would also get work in the industry, writing romance comics for Atlas, DC, and Prize Publications from approximately 1949 to 1955.)

Bernie Krigstein, circa 1950

By the time Harvey Kurtzman made Bernie an offer to join EC in 1953, Krigstein already had work appearing in comics published by Harvey, Prize, Fawcett, Hillman, Atlas, and DC (drawing Wildcat, primarily). And though EC had a full roster of great artists, Krigstein was a very unique talent. Over the two years there, he drew 43 amazing stories — however, in his desire to illustrate a tale to the best of his ability, he would occasionally butt heads with management, which meant publisher Bill Gaines and editor/writer/artist Al Feldstein.

One such incident came when Krigstein brought in the artwork for “Master Race,” which Feldstein wrote to be a six-page comic story. Krigstein gave him eight pages, having cut up the script in order to expand the visuals. While the artwork was incredible, it was upsetting to Feldstein and Gaines because the arrangement of stories had already been set for the issue (Impact #1, Mar.-Apr. 1955). Going from six to eight pages meant having to re-organize the entire issue. But, oh, such pages:

Impact #1 (Mar.-Apr. 1955). “Master Race.” Script: Al Feldstein. Plot: Al Feldstein and Bill Gaines.

Impact #1 (Mar.-Apr. 1955). “Master Race.” Script: Al Feldstein. Plot: Al Feldstein and Bill Gaines.

Impact #1 (Mar.-Apr. 1955). “Master Race.” Script: Al Feldstein. Plot: Al Feldstein and Bill Gaines.

Another time Krigstein and Feldstein clashed, though, it ended badly. Krigstein had been assigned to draw another Feldstein script, “Fall Guy for Murder,” for Crime Illustrated #1 (Nov.-Dec. 1955) but when Feldstein reviewed the pencilled pages he discovered that Krigstein had changed the ending. Krigstein objected to the original version on moral grounds because the killer got away with his crime.

Feldstein and Gaines refused to alter it. Krigstein likewise refused to change his new ending, told them he did not want to be credited on it, and left. Reed Crandall was assigned to ink the pages and told to redraw the ending to match Feldstein’s, and when the issue was published Crandall was the only artist to get credit on the story, though Krigstein’s work was clearly seen.

“Fall Guy for Murder,” Crime Illustrated #1 (Nov.-Dec. 1955). A combination of Bernie Krigstein and Reed Crandall art.

Krigstein went back to Atlas, and also freelanced at Dell, but then left the field of comic books for good in 1962. He became a teacher at Manhattan’s High School of Art and Design, as well as returned to a career in painting. Despite being utterly brilliant at drawing comics, he never regretted moving on.

Here are more pages (plus covers) of his astonishing work at EC:

Weird Science-Fantasy #23 (Spring 1954). “The Flying Machine.” Story: Ray Bradbury. Adaptation: Feldstein.

Vault of Horror #36 (Apr.-May 1954). “Pipe Dream.” Script: Johnny Craig.

Mad #12 (June 1954). “From Eternity Back to Here!” Script: Harvey Kurtzman.

Vault of Horror #38 (Feb. 1964). “The Catacombs.” Script: Carl Wessler.

Crime SuspenStories #25 (Oct.-Nov. 1954). “Key Chain.” Script: Jack Oleck. Layout: Feldstein.

Mad #17 (Nov. 1954). “Bringing Back Father.” Script: Kurtzman.

Shock SuspenStories #18 (Dec. 1954-Jan. 1955). “In the Bag.” Script: Wessler.

Piracy #5 (June-July 1955)

Piracy #6 (Aug.-Sept. 1955)

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13th Dimension contributor-at-large PETER BOSCH’s first book, American TV Comic Books: 1940s-1980s – From the Small Screen to the Printed Page, was published by TwoMorrows. (You can buy it here.) A sequel, American Movie Comic Books: 1930s-1970s — From the Silver Screen to the Printed Page, is due in 2025. (You can pre-order here.) Peter has written articles and conducted celebrity interviews for various magazines and newspapers. He lives in Hollywood.