The distinction between what is considered "high art" and those forms often deemed minor or commercial, such as illustration and comics, is still deeply rooted in the artistic landscape. These disciplines are frequently seen as separate from "true" art, a perception that has sparked heated debates and contrasting opinions. This theme was at the core of my Postgraduate thesis, "Between Image and Literature – Illustration as the Misunderstood Side of Art?" (2017), where I delved into the historical and cultural roots of this separation, exploring the reasons behind this limiting view.

The distinction between what is considered "high art" and those forms often deemed minor or commercial, such as illustration and comics, is still deeply rooted in the artistic landscape. These disciplines are frequently seen as separate from "true" art, a perception that has sparked heated debates and contrasting opinions. This theme was at the core of my Postgraduate thesis, "Between Image and Literature – Illustration as the Misunderstood Side of Art?" (2017), where I delved into the historical and cultural roots of this separation, exploring the reasons behind this limiting view.

However, this perception is not only reductive but also profoundly unfair. Illustration and comics require a high level of skill and creativity, comparable to those needed to create a painting or sculpture. Illustrators and comic artists must master perspective, anatomy, composition, and a wide range of expressive techniques, just like traditional artists. Moreover, they must be able to tell a story through their images, conveying emotions, atmosphere, and narrative depth in a way that is often not expected from traditional artists.

Comics, in particular, are a unique art form, combining visual storytelling with writing to create an immersive experience that engages readers on multiple levels. This process requires not only mastery in drawing but also a deep understanding of narrative rhythm, scene direction, and spatial management on the page. It is no coincidence that great comic artists are celebrated as true masters of visual storytelling, creating works that have had a profound cultural impact, influencing generations of artists and readers. Among these, I must mention two prominent figures in Italian comics: Simone Bianchi and Massimiliano Frezzato, whose works have captured the hearts of international readers.

The issue of reproducibility, often seen as a limitation, can instead be viewed as an extraordinary opportunity. The ability to reproduce and distribute works on a large scale democratizes access to culture, allowing a broad and diverse audience to enjoy these creations. Art, in all its forms, should not be confined to an elite but shared and experienced by as many people as possible.

In conclusion, illustration and comics not only deserve to be recognized as full-fledged art forms, but they also represent a crucial bridge between high culture and popular culture, between the art world and the general public. It is time to abandon outdated distinctions and acknowledge the intrinsic value of these disciplines, celebrated for their ability to tell stories, evoke emotions, and enrich the collective imagination.