Earthshattering, godlike beings dwell around us. Bearing the loads of others’ misdeeds
and upholding justice and the American way, it is these men and women to whom our eyes turn with each candid page. They are our folklore, our legends, who are given life by indestructible imagination. Whether battling fist to cuff or with a righthanded weapon of choice, these characters are given life by comics as beacons of hope in their world, as well as our own. In the minds of many Americans, Alex Ross included, there is only one superhero so immortalized, who can possibly represent this ideal: Superman. One man, known for his unbounded physical abilities and proven compassion is depicted in Ross’ picture. Yet, the piece “Clark Kent” by Alex Ross reminds us not only of the majesty of these superheroes, but of their raw inner humanity.
The cinematic world and modern comics stereotypically portray heroes with powerful physical stature and inhuman beauty. Ross defies this notion entirely through his content and technique, reminding that heroes first are humble, resolute, and human. In “Clark Kent,” a wearisome Superman naps in a large recliner, white dress shirt haphazardly unbuttoned and supersuit clearly visible. His dark, rich blue and red suit, a stark contrast to his modest home, sets his character deliberately apart from his surroundings. Clark’s circular spectacles perched on his nose, even the mighty Superman is rendered powerless by sleep, despite his tilted lamp still aglow. Like a small boy tuckered out from a long day of adventures, he sleeps, a photo of his parents on the adjacent table. The mighty hero is completely vulnerable; the juxtaposition of frumpy Clark and allpowerful Superman made even more ironic in sleep.
Drawn in the similar style of nineteenth century American painter Norman Rockwell, “Clark Kent” seems superficially simplistic, yet complex in technique. Alex Ross, like Rockwell, utilizes warm colors, contrasting lighting, welldefined facial features, and added texture in hair and clothing to emphasize the humanity of his subject. He incorporates many layers to achieve these effects, working from an original base sketch inspired by various images from magazines, books, photographs, and models, just how Rockwell himself drew inspiration from photographs. From this detailed drawing, he then applies a layer of dark charcoals to emphasize the contrasts in light before pulling from his palette of greys to increase the impact of shadows and palpable textures prior to painting. The extreme variants in light, from the white of the lamp to the pitch black shadows in “Clark Kent,” are emphasized in this way, along with the rumples in Clark Kent’s dress shirt. By initially working with primary colors or on a specific dominant feature of the character, such as the “S” on Clark Kent’s chest, Ross adds new layers of Gouache watercolor as he progresses. Ross concludes his work with his prized airbrushing, ensuring the impact of his highlights and adding to his design’s final effect.
Evoking a Rockwellian feel, this piece harkens back to the American patriotism of Norman Rockwell’s peak during the 1930s and ‘40s. Desperate Americans humbly placed their hope in their country, fiercely clinging to the American Dream. “Clark Kent” upholds this same message of duty to country and the ideal of the selfmade man, transforming and uniting a
simpleton journalist and a man of steel into one, albeit exhausted, individual. “Clark Kent” combines both man and hero, making Superman relatable, human.
Similarly, with two future boy scouts looking on, a noble George Washington bows his head in exhaustion in Rockwell’s “Our Heritage.” Combining a war general with a humble, wearied man, George Washington is lowly and susceptible, just as the sleeping Superman. In bold blues and hues of yellow, the work depicts the concerned brow of Washington, which is mirrored in Clark Kent. Both men have pulled themselves through adversity to become American legends, and dually have they suffered, prevailing through wars and turmoil to achieve their goals. “Clark Kent” and “Our Heritage” make this clear through the humility and vulnerability of two characters, so idealized by Americans, yet people, just as you or I.
Yet, more selfless of all, is the painting “We the Peoples” by Norman Rockwell. Purposefully designed to depict people from every tribe, religion, and nation, every individual is either bowing or looking away from the viewer, as though not to single himself out, but to be united as a whole. With the words, “Do unto others as you would have them do unto you” inscribed on the lower half of the image, selflessness is exemplified. From a glance, the muted tones make it difficult to distinguish each individual, yet this encourages one to wonder about each individual’s unique story and beliefs. Different backgrounds and ethnicities dare not divide them, for they are human, heroes of their own accord. Superman, is similarly selfless, taking his repose still in costume, having given all his effort for others during the day. He demonstrates selflessness, a characteristic which unites the individuals in “We the Peoples” and himself. Clark Kent is merely a man with extraordinary abilities, just as each individual has his or her own strengths and magnificence.
Alex Ross portrays the idea of humanity beautifully in one of his own works, “10 Years Later,” in which Clark Kent and Wonder Woman are swarmed by their four children, two dogs, and welcomed friend, Batman, as hinted in the graphic novel Kingdom Come. Basked in warm light, vibrant greens, and earthy goldenbrowns, the group is full of smiles, idealizing the beauty of the family, making these heroes seem small, especially Clark Kent. From the picture of his parents in “Clark Kent” to his actual family in “10 Years Later,” Superman is capable of setting all else aside for those he loves, displaying an essential characteristic of humanity: love.
Empathy and love transcend all, even the warm, inviting light of the scene, and are the fruits of the tired Clark Kent’s labors. “Clark Kent” comes to fruition in this work and displays his dynamic and loving character.
Alex Ross shows that Superman is Clark Kent first. He is human, united in our same freedoms, but what he may have in extraordinary might, we have in other talents. Greatness, power, and prestige are only as valuable as we perceive them to be, and the same can be said for heroes. Alex Ross understands this, depicting Superman’s chiseled muscles and careworn face as no different from our own mental fortitude and bravery. Our astonishment and amazement in these heroes lies not in their stature or unachievable merits, but in how similar to us they are. Humility, selflessness, and empathy are humanity’s weapons of choice and ways we ourselves achieve our dreams. When not laboring for freedom or in pursuit of the American Dream, Superman snores; the gods are made human.