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 George Barr  (1937 - )

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Lived/Active: Utah/California      Known for: science fiction illustration, fantasy

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Ad Code: 4
George Barr
from Auction House Records.
The Gods Abide
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:
In a perfect world, you wouldn't be scratching your head and wondering who the heck George Barr was. He'd be just (and justly) as famous as Virgil Finlay and Kelly Freas. Since this world is anything but perfect, let me rectify this startling oversight.

Born in 1937, George was drawing at the age of three. Encouraged in high school by a local artist to develop his skills (and because he "liked to draw"), he sent away for the Famous Artists Course. After high school, he also enrolled in the local Salt Lake City Vocational School of Commercial Art. Neither course proved to be to his liking, though the latter gave him a working familiarity with many of the tools of the artist's trade.

In 1958, George discovered the world of science fiction. He had been a sci-fi fan since age 13 and finding an organized group that shared his joys was a wonder. He began to contribute to fanzines (sci-fi fantasy magazines) and to display his artwork in the convention art exhibits. This led to his first commercial successes - two 1962 covers for Fantastic magazines. He was on a roll...

Only trouble was, nobody else knew it. Living in Utah, with no experience in the trade, he figured once he was published that the world would come to him. He spent six years waiting for a call that never came. In the meantime, he worked in advertising and freelanced locally. He eventually removed the two covers from his portfolio because some of the rather provincial art directors wouldn't hire him for fear he was overqualified.

He continued his contributions to fanzines, the most notably his work for "Tom Reamy's Trumpet". The masterful playing card images were on the covers of issue 3 (1965) and with issue four he began his legendary (albeit unfinished) comic strip adaptation of Poul Anderson's "The Broken Sword". It was his first comic style work and, as far as I can ascertain, his last. In three installments over a period of three years he produced 22 pages of the story for no pay. He was fairly glad when the magazine and the project ended, but not before he had produced innumerable interior drawings for them and the stunning cover for issue ten (directly below).

A fascinating aspect of Barr's work is that much of it, in these early days, was done in ball point pen. Even the color "paintings" are really "inkings" with different color pens used to "mix" the colors. Since the mid-Seventies he's switched to watercolor for the tints, but still he does most of his drawing in ball-point pen. He was once encouraged, as a teenager, to try to sketch in pen to avoid the temptation of erasures - to which he was prone. This unique technique was the result.

In 1968, the quality of his plethora of fanzine art earned him the Hugo Award for best fan artist. That year, he left the Salt Lake City doldrums for the potential of Los Angeles and a career as a science-fiction artist. Soon the paperback racks were filled with his paintings. He did some of the very earliest covers for DAW (#s 6 and 10) and worked for Ace and Ballantine and others. The novels of Marion Zimmer Bradley and Thomas Burnett Swann were especially favored subjects.

Though George lived for many years in neighboring San Jose, I've never met the man. But Bud, Al Davoren and I did publish some of his work in 1970. It was the back cover of Promethean Enterprises #2 and the image had been crafted in 1961. That image demonstrates George's superb appreciation and understanding of the techniques and strengths of Virgil Finlay - while still being much more than a mere imitation.

The image from the cover of "The Conan Swordbook" (1969 Mirage Press) is pertinent in that it was the first piece of George Barr art I ever encountered. He did the back cover to that book as well, a striking pen portrait of Robert E. Howard. I was hooked.

"Red Nails", The Flesh Gordon erotic film was released in 1972, the year that George left LA for San Jose. He crafted a wonderfully sexy and campy parody of an old-time pulp cover as a poster for the film. In 1975, George was given the plum assignment of illustrating the Red Nails volume of Donald M. Grant's uniform Robert E. Howard's Conan.

By 1976, Barr was such a presence in the sf/fantasy art world that Grant published a collection of his art. Upon the "Winds of Yesterday" and "Other Explorations" is still the best collection of his work extant. Of course, it is hopelessly out of date.

The late 70's and all of the 80's were prime time for George. He did dozens more paperback covers, lots of covers for SF program books, and covers and interior art for Isaac Asimov's Science Fiction and Amazing. When the venerable pulp "Weird Tales" was revived (again) in 1988, the cover and the interior art for the entire issue was by Barr (above left). He did dust jacket and interior illustrations for Underwood-Miller's collection of Jack Vance stories, "Green Magic", and the dust jacket for their "The Dying Earth". A major focus for his art was (and is) the covers, interior art and stories for many issues of Marion Zimmer Bradley's "Fantasy Magazine".

"GoGo the Blue Gorilla" is from a 1978 record album sleeve - profusely illustrated by George. In 1976, he also did an album cover for a recording of Ursula K. Le Guin reading three of her short stories.

George Barr is currently living in Livermore, CA, and judging from his most recent work still possesses all his skills and whimsy. Like most true artists, George is still actively drawing and you can find his work in recent issues of Marion Zimmer Bradley's Fantasy Magazine.


Used with permission of the writer, Jim Vadeboncoeur, Jr. / Bud Plant Illustrated Books, Palo Alto, CA.

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