José Peñarroya

José Peñarroya Peñarroya (Forcall, Castellon, 1910 – Barcelona, 1975)[1] was a Spanish cartoonist of the Bruguera School, creator of famous characters such as Don Pío (about a mild-mannered man and his demanding wife) or Gordito Relleno (about a fat and kindly man people always take advantage to). He also was, alongside Cifré, the "official" cover artist of many of the publications of the house, until well into the 1960s.[2] As a result, he is considered one of the "Big Five" of that editorial of the 1950s, along with Conti, Escobar, Giner (this, in realistic style) and Cifré.[3]

José Peñarroya
BornJosé Peñarroya
1910
Forcall, Castellon
Died1975
Barcelona
NationalitySpanish
Area(s)Artist
Notable works
Don Pío, Gordito Relleno

Biography

During the Spanish Civil War he was a combatant in the republican army.

After the war he left his job as an accountant for the study Estudios Chamartín, where he participated in the creation of several short films.[1] In 1947 he began collaborating with Editorial Bruguera, for which he created Don Pío (1947), Calixto (1947), Gordito Relleno (1948) and Don Berrinche (1948, about a man who was always angry). He was involved in several magazines of the publisher, especially Pulgarcito and El DDT.

At this time, he worked with his friends Cifré and Escobar in a rented studio. They liked to catch red pine mushrooms in autumn and joke about it among themselves.[4]

In 1957, together with these and other cartoonist of Bruguera, Carlos Conti and Eugenio Giner, he created an independent company that began publishing a new journal, Tío Vivo, keeping the typical schemes of Bruguera magazines. For this magazine, Peñarroya draw new characters, such as La familia Pi (very similar to his Don Pío) After the economic failure of Tío Vivo, he returned to Bruguera, for which continued creating characters, such as Floripondia Piripí (1958), Pepe, el hincha (1962, about a fanatic of a very unlucky soccer team), Pitagorín (1966, about a kind and gifted child) and Rudesindo el bucanero (1966). He also created new series for the magazine "Tele Chico".

Style

Peñarroya graphic style evolved over the years toward greater statism, abandoning kinetic curves and symbols.[5] An author of a later generation, Joan March, described Peñarroya humor as more subtle, but also more poetic than other authors of Bruguera.[6]

Work
Years Title Kind Publisher
1947 Don Pío Series Pulgarcito, Super Pulgarcito, etc.
1947 El mundo se ríe Collective series[1] Pulgarcito
1947 Calixto Series Pulgarcito
1948 Gordito Relleno Series Pulgarcito
1948 Atleto, el Deportista Series Pulgarcito
1948 Loquilandia Series with Cifré and Escobar[1] El Campeón
1948 Don Berrinche Serie El Campeón, Pulgarcito, El DDT, etc.[1]
1949 Don Pío Monography Bruguera: Magos del Lápiz[1]
1950 Calixto Monography Bruguera: Magos de la Risa[1]
1957 La Familia Pí Series Tío Vivo
1957 Neronín Series Don José
1958 Floripondia Piripí, se pirra por dar el sí Series Sissi
1962 Pepe, el Hincha Series Tío Vivo
1963 Boliche y Chapinete Series Tele Chico
1963 Perucho y Cheles Series Tele Chico
1966 Pitagorín Series Pulgarcito
1966 Rudesindo, el Bucanero. Un tipo de cuerpo entero Series El Capitán Trueno Extra[1]
1971 Draculino Series Terror Fantastic[1]

References
  1. Cuadrado (2000), pp. 975–977.
  2. Matías Guiu, Armando in Comic Story-2, magazine Bruguelandia nº 2, Editorial Bruguera, Barcelona, 1981, page 30.
  3. Matías Guiu, Armando in ¡Hola, amigos!, presentation of number five of Bruguelandia, Editorial Bruguera, Barcelona, 30/11/1981, p. 3.
  4. Matías Guiu, Armando in Comic-Story 1, magazine Bruguelandia nº 1, Editorial Bruguera, Barcelona, 29/06/1981, page 28 and 29.
  5. Ramírez (12/1975), pp. 100-101.
  6. March, Joan in Comic Story-4, magazine Bruguelandia, Editorial Bruguera, Barcelona, 26/10/1981, page 64.
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