document_title: Stan Lee

question_text: who was the first hero stan lee created

question_tokens: who was the first hero stan lee created

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text: Stan Lee

text: Early life

text: Stanley Martin Lieber was born on December 28, 1922 in Manhattan, New York City,[6] in the apartment of his Romanian-born Jewish immigrant parents, Celia (née Solomon) and Jack Lieber, at the corner of West 98th Street and West End Avenue in Manhattan.[7][8] His father, trained as a dress cutter, worked only sporadically after the Great Depression,[7] and the family moved further uptown to Fort Washington Avenue,[9] in Washington Heights, Manhattan. Lee has one younger brother named Larry Lieber.[10] He said in 2006 that as a child he was influenced by books and movies, particularly those with Errol Flynn playing heroic roles.[11] By the time Lee was in his teens, the family was living in an apartment at 1720 University Avenue in The Bronx. Lee has described it as "a third-floor apartment facing out back". Lee and his brother shared the bedroom, while their parents slept on a foldout couch.[10]

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text: Lee attended DeWitt Clinton High School in the Bronx.[12] In his youth, Lee enjoyed writing, and entertained dreams of one day writing the "Great American Novel".[13] He has said that in his youth he worked such part-time jobs as writing obituaries for a news service and press releases for the National Tuberculosis Center;[14] delivering sandwiches for the Jack May pharmacy to offices in Rockefeller Center; working as an office boy for a trouser manufacturer; ushering at the Rivoli Theater on Broadway;[15] and selling subscriptions to the New York Herald Tribune newspaper.[16] He graduated from high school early, aged 16½ in 1939, and joined the WPA Federal Theatre Project.[17]

text: Career

text: Early career

text: With the help of his uncle Robbie Solomon,[18] Lee became an assistant in 1939 at the new Timely Comics division of pulp magazine and comic-book publisher Martin Goodman's company. Timely, by the 1960s, would evolve into Marvel Comics. Lee, whose cousin Jean[19] was Goodman's wife, was formally hired by Timely editor Joe Simon.[n 1]

text: His duties were prosaic at first. "In those days [the artists] dipped the pen in ink, [so] I had to make sure the inkwells were filled", Lee recalled in 2009. "I went down and got them their lunch, I did proofreading, I erased the pencils from the finished pages for them".[21] Marshaling his childhood ambition to be a writer, young Stanley Lieber made his comic-book debut with the text filler "Captain America Foils the Traitor's Revenge" in Captain America Comics #3 (cover-dated May 1941), using the pseudonym Stan Lee,[22] which years later he would adopt as his legal name.[citation needed] Lee later explained in his autobiography and numerous other sources that he had intended to save his given name for more literary work. This initial story also introduced Captain America's trademark ricocheting shield-toss.[23]:11

text: He graduated from writing filler to actual comics with a backup feature, "'Headline' Hunter, Foreign Correspondent", two issues later. Lee's first superhero co-creation was the Destroyer, in Mystic Comics #6 (August 1941). Other characters he co-created during this period fans and historians call the Golden Age of Comic Books include Jack Frost, debuting in U.S.A. Comics #1 (August 1941), and Father Time, debuting in Captain America Comics #6 (August 1941).[23]:12–13

text: When Simon and his creative partner Jack Kirby left late in 1941, following a dispute with Goodman, the 30-year-old publisher installed Lee, just under 19 years old, as interim editor.[23]:14 [24] The youngster showed a knack for the business that led him to remain as the comic-book division's editor-in-chief, as well as art director for much of that time, until 1972, when he would succeed Goodman as publisher.[2][25]

text: Lee entered the United States Army in early 1942 and served in the US in the Signal Corps, repairing telegraph poles and other communications equipment.[26] He was later transferred to the Training Film Division, where he worked writing manuals, training films, and slogans, and occasionally cartooning.[27] His military classification, he says, was "playwright"; he adds that only nine men in the US Army were given that title.[28] Vincent Fago, editor of Timely's "animation comics" section, which put out humor and funny animal comics, filled in until Lee returned from his World War II military service in 1945.

text: In the mid-1950s, by which time the company was now generally known as Atlas Comics, Lee wrote stories in a variety of genres including romance, Westerns, humor, science fiction, medieval adventure, horror and suspense. In the 1950s, Lee teamed up with his comic book colleague Dan DeCarlo to produce the syndicated newspaper strip, My Friend Irma, based on the radio comedy starring Marie Wilson.[29] By the end of the decade, Lee had become dissatisfied with his career and considered quitting the field.[30][31]

text: Marvel revolution

text: In the late 1950s, DC Comics editor Julius Schwartz revived the superhero archetype and experienced a significant success with its updated version of the Flash, and later with super-team the Justice League of America. In response, publisher Martin Goodman assigned Lee to come up with a new superhero team. Lee's wife suggested him to experiment with stories he preferred, since he was planning on changing careers and had nothing to lose.[30][31]

text: Lee acted on that advice, giving his superheroes a flawed humanity, a change from the ideal archetypes that were typically written for preteens. Before this, most superheroes were idealistically perfect people with no serious, lasting problems.[32] Lee introduced complex, naturalistic characters[33] who could have bad tempers, fits of melancholy, and vanity; they bickered amongst themselves, worried about paying their bills and impressing girlfriends, got bored or even were sometimes physically ill.

text: The first superhero group Lee and artist Jack Kirby created together was the Fantastic Four, based on previous Kirby superhero team Challengers of the Unknown published by DC Comics[34] The team's immediate popularity[35] led Lee and Marvel's illustrators to produce a cavalcade of new titles. Again working with Kirby, Lee co-created the Hulk,[36] Thor,[37] Iron Man,[38] and the X-Men;[39] with Bill Everett, Daredevil;[40] and with Steve Ditko, Doctor Strange[41] and Marvel's most successful character, Spider-Man,[42] all of whom lived in a thoroughly shared universe.[43] Lee and Kirby gathered several of their newly created characters together into the team title The Avengers[44] and would revive characters from the 1940s such as the Sub-Mariner[45] and Captain America.[46]

text: Comics historian Peter Sanderson wrote that in the 1960s:

text: DC was the equivalent of the big Hollywood studios: After the brilliance of DC's reinvention of the superhero ... in the late 1950s and early 1960s, it had run into a creative drought by the decade's end. There was a new audience for comics now, and it wasn't just the little kids that traditionally had read the books. The Marvel of the 1960s was in its own way the counterpart of the French New Wave.... Marvel was pioneering new methods of comics storytelling and characterization, addressing more serious themes, and in the process keeping and attracting readers in their teens and beyond. Moreover, among this new generation of readers were people who wanted to write or draw comics themselves, within the new style that Marvel had pioneered, and push the creative envelope still further.[47]

text: Lee's revolution extended beyond the characters and storylines to the way in which comic books engaged the readership and built a sense of community between fans and creators.[48] He introduced the practice of regularly including a credit panel on the splash page of each story, naming not just the writer and penciller but also the inker and letterer. Regular news about Marvel staff members and upcoming storylines was presented on the Bullpen Bulletins page, which (like the letter columns that appeared in each title) was written in a friendly, chatty style. Lee has said that his goal was for fans to think of the comics creators as friends, and considered it a mark of his success on this front that, at a time when letters to other comics publishers were typically addressed "Dear Editor", letters to Marvel addressed the creators by first name (e.g. "Dear Stan and Jack").[26] By 1967, the brand was well-enough ensconced in popular culture that a March 3 WBAI radio program with Lee and Kirby as guests was titled "Will Success Spoil Spiderman" [sic].[49]

text: Throughout the 1960s, Lee scripted, art-directed and edited most of Marvel's series, moderated the letters pages, wrote a monthly column called "Stan's Soapbox", and wrote endless promotional copy, often signing off with his trademark motto, "Excelsior!" (which is also the New York state motto). To maintain his workload and meet deadlines, he used a system that was used previously by various comic-book studios, but due to Lee's success with it, became known as the "Marvel Method". Typically, Lee would brainstorm a story with the artist and then prepare a brief synopsis rather than a full script. Based on the synopsis, the artist would fill the allotted number of pages by determining and drawing the panel-to-panel storytelling. After the artist turned in penciled pages, Lee would write the word balloons and captions, and then oversee the lettering and coloring. In effect, the artists were co-plotters, whose collaborative first drafts Lee built upon. Lee recorded messages to the newly formed Merry Marvel Marching Society fan club in 1965.[50]

text: Following Ditko's departure from Marvel in 1966, John Romita Sr. became Lee's collaborator on The Amazing Spider-Man. Within a year, it overtook Fantastic Four to become the company's top seller.[51] Lee and Romita's stories focused as much on the social and college lives of the characters as they did on Spider-Man's adventures.[52] The stories became more topical, addressing issues such as the Vietnam War,[53] political elections,[54] and student activism.[55] Robbie Robertson, introduced in The Amazing Spider-Man #51 (August 1967) was one of the first African-American characters in comics to play a serious supporting role.[56] In the Fantastic Four series, the lengthy run by Lee and Kirby produced many acclaimed storylines as well as characters that have become central to Marvel, including the Inhumans[57][58] and the Black Panther,[59] an African king who would be mainstream comics' first black superhero.[60]

text: The story frequently cited as Lee and Kirby's finest achievement[61][62] is the three-part "Galactus Trilogy" that began in Fantastic Four #48 (March 1966), chronicling the arrival of Galactus, a cosmic giant who wanted to devour the planet, and his herald, the Silver Surfer.[63][64] Fantastic Four #48 was chosen as #24 in the 100 Greatest Marvels of All Time poll of Marvel's readers in 2001. Editor Robert Greenberger wrote in his introduction to the story that "As the fourth year of the Fantastic Four came to a close, Stan Lee and Jack Kirby seemed to be only warming up. In retrospect, it was perhaps the most fertile period of any monthly title during the Marvel Age."[65] Comics historian Les Daniels noted that "[t]he mystical and metaphysical elements that took over the saga were perfectly suited to the tastes of young readers in the 1960s", and Lee soon discovered that the story was a favorite on college campuses.[66] Lee and artist John Buscema launched The Silver Surfer series in August 1968.[67][68]

text: The following year, Lee and Gene Colan created the Falcon, comics' first African-American superhero in Captain America #117 (September 1969).[69] Then in 1971, Lee indirectly helped reform the Comics Code.[70] The U. S. Department of Health, Education and Welfare had asked Lee to write a comic-book story about the dangers of drugs and Lee conceived a three-issue subplot in The Amazing Spider-Man #96–98 (cover-dated May–July 1971), in which Peter Parker's best friend becomes addicted to pills. The Comics Code Authority refused to grant its seal because the stories depicted drug use; the anti-drug context was considered irrelevant. With Goodman's cooperation and confident that the original government request would give him credibility, Lee had the story published without the seal. The comics sold well and Marvel won praise for its socially conscious efforts.[71] The CCA subsequently loosened the Code to permit negative depictions of drugs, among other new freedoms.[72][73]

text: Lee also supported using comic books to provide some measure of social commentary about the real world, often dealing with racism and bigotry.[74] "Stan's Soapbox", besides promoting an upcoming comic book project, also addressed issues of discrimination, intolerance, or prejudice.[75][76]

text: In 1972, Lee stopped writing monthly comic books to assume the role of publisher. His final issue of The Amazing Spider-Man was #110 (July 1972)[77] and his last Fantastic Four was #125 (August 1972).[78]

text: Later career

text: In later years, Lee became a figurehead and public face for Marvel Comics. He made appearances at comic book conventions around America, lecturing at colleges and participating in panel discussions. Lee and John Romita Sr. launched the Spider-Man newspaper comic strip on January 3, 1977.[79] Lee's final collaboration with Jack Kirby, The Silver Surfer: The Ultimate Cosmic Experience, was published in 1978 as part of the Marvel Fireside Books series and is considered to be Marvel's first graphic novel.[80] Lee and John Buscema produced the first issue of The Savage She-Hulk (February 1980), which introduced the female cousin of the Hulk[81] and crafted a Silver Surfer story for Epic Illustrated #1 (Spring 1980).[82] He moved to California in 1981 to develop Marvel's TV and movie properties. He has been an executive producer for, and has made cameo appearances in, Marvel film adaptations and other movies. He occasionally returned to comic book writing with various Silver Surfer projects including a 1982 one-shot drawn by John Byrne,[83] the Judgment Day graphic novel illustrated by John Buscema,[84] the Parable limited series drawn by French artist Mœbius,[85] and The Enslavers graphic novel with Keith Pollard.[86] Lee was briefly president of the entire company, but soon stepped down to become publisher instead, finding that being president was too much about numbers and finance and not enough about the creative process he enjoyed.[87]

text: Peter Paul and Lee began a new Internet-based superhero creation, production, and marketing studio, Stan Lee Media, in 1998.[88] It grew to 165 people and went public through a reverse merger structured by investment banker Stan Medley in 1999, but, near the end of 2000, investigators discovered illegal stock manipulation by Paul and corporate officer Stephan Gordon.[89] Stan Lee Media filed for Chapter 11 bankruptcy protection in February 2001.[90] Paul was extradited to the U.S. from Brazil and pleaded guilty to violating SEC Rule 10b-5 in connection with trading of his stock in Stan Lee Media.[91][92] Lee was never implicated in the scheme. In 2001, Lee, Gill Champion, and Arthur Lieberman formed POW! (Purveyors of Wonder) Entertainment to develop film, television and video game properties. Lee created the risqué animated superhero series Stripperella for Spike TV. In 2004 POW! Entertainment went public. Also that year, Lee announced a superhero program that would feature Ringo Starr, the former Beatle, as the lead character.[93][94] Additionally, in August of that year, Lee announced the launch of Stan Lee's Sunday Comics,[95] a short-lived subscription service hosted by Komikwerks.com. On March 15, 2007, after Stan Lee Media had been purchased by Jim Nesfield, the company filed a lawsuit against Marvel Entertainment for $5 billion, claiming Lee had given his rights to several Marvel characters to Stan Lee Media in exchange for stock and a salary.[96] On June 9, 2007, Stan Lee Media sued Lee; his newer company, POW! Entertainment; and POW! subsidiary QED Entertainment.[97][98]

text: In 2008, Lee wrote humorous captions for the political fumetti book Stan Lee Presents Election Daze: What Are They Really Saying?.[99] In April of that year, Brighton Partners and Rainmaker Animation announced a partnership POW! to produce a CGI film series, Legion of 5.[100] Other projects by Lee announced in the late 2000s included a line of superhero comics for Virgin Comics,[101] a TV adaptation of the novel Hero,[102] a foreword to Skyscraperman by skyscraper fire-safety advocate and Spider-Man fan Dan Goodwin,[103] a partnership with Guardian Media Entertainment and The Guardian Project to create NHL superhero mascots[104] and work with the Eagle Initiative program to find new talent in the comic book field.[105]

text: In October, Lee announced he would partner with 1821 Comics on a multimedia imprint for children, Stan Lee's Kids Universe, a move he said addressed the lack of comic books targeted for that demographic; and that he was collaborating with the company on its futuristic graphic novel Romeo & Juliet: The War, by writer Max Work and artist Skan Srisuwan.[106][107] At the 2012 San Diego Comic-Con International, Lee announced his YouTube channel, Stan Lee's World of Heroes, which airs programs created by Lee, Mark Hamill, Peter David, Adrianne Curry, and Bonnie Burton among others.[108][109][110][111] Lee wrote the book, Zodiac released in January 2015, with Stuart Moore.[112] The film Stan Lee's Annihilator, based on a Chinese prisoner-turned-superhero named Ming and in production since 2013, is set for a 2015 release.[113][114][115]

text: In his later career, Lee's contributions continued to expand outside the style that he helped pioneer. An example of this is his first work for DC Comics in the 2000s, launching the Just Imagine... series, in which Lee re-imagined the DC superheroes Superman, Batman, Wonder Woman, Green Lantern, and the Flash.[116] Manga projects involving Lee include Karakuridôji Ultimo, a collaboration with Hiroyuki Takei, Viz Media and Shueisha,[117] and Heroman, serialized in Square Enix's Monthly Shōnen Gangan with the Japanese company Bones.[118][119] In 2011, Lee started writing a live-action musical, The Yin and Yang Battle of Tao.[120]

text: This period also saw a number of collaborators honor Lee for his influence on the comics industry. In 2006, Marvel commemorated Lee's 65 years with the company by publishing a series of one-shot comics starring Lee himself meeting and interacting with many of his co-creations, including Spider-Man, Doctor Strange, the Thing, Silver Surfer, and Doctor Doom. These comics also featured short pieces by such comics creators as Joss Whedon and Fred Hembeck, as well as reprints of classic Lee-written adventures.[121] At the 2007 Comic-Con International, Marvel Legends introduced a Stan Lee action figure. The body beneath the figure's removable cloth wardrobe is a re-used mold of a previously released Spider-Man action figure, with minor changes.[122] Comikaze Expo, Los Angeles' largest comic book convention, was rebranded as Stan Lee's Comikaze Presented by POW! Entertainment in 2012.[123]

text: At the 2016 Comic-Con International, Lee introduced his digital graphic novel Stan Lee's 'God Woke',[124][125][126] with text originally written as a poem he presented at Carnegie Hall in 1972.[127] The print-book version won the 2017 Independent Publisher Book Awards' Outstanding Books of the Year Independent Voice Award.[128]

text: Charity work

text: The Stan Lee Foundation was founded in 2010 to focus on literacy, education, and the arts. Its stated goals include supporting programs and ideas that improve access to literacy resources, as well as promoting diversity, national literacy, culture and the arts.[129]

text: Stan Lee has donated portions of his personal effects to the University of Wyoming at various times, between 1981 and 2001.[130]

text: Fictional portrayals

text: Stan Lee and his collaborator Jack Kirby appear as themselves in The Fantastic Four #10 (January 1963), the first of several appearances within the fictional Marvel Universe.[131] The two are depicted as similar to their real-world counterparts, creating comic books based on the "real" adventures of the Fantastic Four.

text: Lee was parodied by Kirby in comics published by rival DC Comics as Funky Flashman.[132] Kirby later portrayed himself, Lee, production executive Sol Brodsky, and Lee's secretary Flo Steinberg as superheroes in What If #11 (October 1978), "What If the Marvel Bullpen Had Become the Fantastic Four?", in which Lee played the part of Mister Fantastic. Lee has also made numerous cameo appearances in many Marvel titles, appearing in audiences and crowds at many characters' ceremonies and parties, and hosting an old-soldiers reunion in Sgt. Fury and his Howling Commandos #100 (July 1972). Lee appeared, unnamed, as the priest at Luke Cage and Jessica Jones' wedding in New Avengers Annual #1 (June 2006). He pays his respects to Karen Page at her funeral in Daredevil vol. 2, #8 (June 1998), and appears in The Amazing Spider-Man #169 (June 1977).

text: In 1994, artist Alex Ross rendered Lee as a bar patron on page 44 of Marvels #3.[133]

text: In Marvel's "Flashback" series of titles cover-dated July 1997, a top-hatted caricature of Lee as a ringmaster introduced stories that detailed events in Marvel characters' lives before they became superheroes, in special "-1" editions of many Marvel titles. The "ringmaster" depiction of Lee was originally from Generation X #17 (July 1996), where the character narrated a story set primarily in an abandoned circus. Though the story itself was written by Scott Lobdell, the narration by "Ringmaster Stan" was written by Lee, and the character was drawn in that issue by Chris Bachalo.

text: Lee and other comics creators are mentioned on page 479 of Michael Chabon's 2000 novel about the comics industry The Amazing Adventures of Kavalier and Clay. Chabon also acknowledges a debt to Lee and other creators on the book's Author's Note page.

text: On one of the last pages of Truth: Red, White & Black, Lee appears in a real photograph among other celebrities on a wall of the Bradley home.[134] Under his given name of Stanley Lieber, Stan Lee appears briefly in Paul Malmont's 2006 novel The Chinatown Death Cloud Peril.[135]

text: In Stan Lee Meets Superheroes, which Lee wrote, he comes into contact with some of his favorite creations.[121] Stan Lee and Jack Kirby appear as professors in Marvel Adventures Spider-Man #19.

text: In Lavie Tidhar's 2013 The Violent Century, Lee appears – under his birth name of "Stanley Martin Lieber" – as a historian of superhumans.[136]

text: Film and television appearances

text: Lee has had cameo appearances in many Marvel film and television projects. A few of these appearances are self-aware and sometimes reference Lee's involvement in the creation of certain characters. Lee has been a credited executive producer on most Marvel film and television projects since the 1990 direct-to-video Captain America film.

text: Marvel television

text: Animation

text:
One of Lee's earliest contributions to animation based on Marvel properties was narrating the 1980s Incredible Hulk animated series, always beginning his narration with a self-introduction and ending with "This is Stan Lee saying, Excelsior!" Lee had previously narrated the "Seven Little Superheroes" episode of Spider-Man and His Amazing Friends, which the Hulk series was paired with for broadcast.
Lee did the narration for the original 1989 X-Men animated series pilot titled X-Men: Pryde of the X-Men.
Lee was an executive producer of the 1990s animated TV series Spider-Man. He appeared as himself in animated form in the final episode titled "Farewell, Spider-Man". Spider-Man is transported by Madame Web into the "real" world where he is a fictional character. He meets Lee and the two swing around until Spider-Man drops him off on top of a building; Madame Web appears and brings Spider-Man back to his homeworld. Realizing he is stuck on a roof, Lee muses, hoping the Fantastic Four will show up and lend a hand.
He also voices the character "Frank Elson" in an episode of Spider-Man: The New Animated Series broadcast by MTV in 2003, titled "Mind Games" (Parts 1 and 2, originally aired on August 15 and 22, 2003).
He voiced a loading-dock worker named Stan on The Spectacular Spider-Man in the episode "Blueprints".
In several episodes of The Super Hero Squad Show, Lee voices the Mayor of Super Hero City.
Lee has appeared in episodes of the Disney XD TV series Ultimate Spider-Man as a high school janitor named Stan, in which he makes references to Lee's real-life career. In the pilot "Great Power" and the episode "Why I Hate Gym", he mentions Irving Forbush, an in-joke character Lee co-created in 1955 as a literary device.[137][137] Stan the Janitor also appears in Episode 18, "Out of Damage Control", as a part-time worker for Damage Control.[138] In the episode "Stan By Me", he, along with Mary Jane Watson, Agent/Principal Coulson, and Harry Osborn, helped Spider-Man fight the Lizard. At the end of the episode it is revealed that Lee's character is secretly a top S.H.I.E.L.D. agent and is aware of Peter Parker's secret identity as Spider-Man,[139] and that he is a founding member of S.H.I.E.L.D. who named the organization, which Lee named in reality.[140]
Stan Lee has appeared in Hulk and the Agents of S.M.A.S.H.. He was first alluded to as Stan the Salesman in the first episode and later appeared in a recurring role as Mayor Stan of Vista Verde.
Stan Lee will reprise his role as Fred's dad in Big Hero 6: The Series.[141] The first episode implies that his name is Frederick Frederickson III.[142]

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text: Live-action

text:
In the TV-movie The Trial of the Incredible Hulk (1989), Lee's first appearance in a Marvel movie or TV project is as a jury foreman in the trial of Dr. David Banner.
Lee appears in "T.R.A.C.K.S.", an episode of Agents of S.H.I.E.L.D. originally broadcast February 4, 2014.[143]
He appears in "The Blitzkrieg Button", the Agent Carter episode originally broadcast January 27, 2015.[144]
Lee cameos in Marvel's Netflix series via a photograph of Lee as a police officer of the New York City Police Department, appearing in Daredevil,[145] Jessica Jones,[146] Luke Cage,[147] Iron Fist, The Defenders and The Punisher. In Iron Fist, he is identified as Captain Irving Forbush.[148]
Lee has a non-speaking cameo in the 2017 X-Men TV series The Gifted.[149]
Lee again appears as a limo driver in the Hulu series Runaways.[150]

text: Marvel films

text: Animation

text: In Big Hero 6 (2014), Lee's voice and likeness are used for the father of character Fred. Though he appears in a portrait earlier in the film, Lee's cameo is a post-credits scene in which he demonstrates to his son that they have many things to talk about. Lee was not involved with the creation of the original Big Hero 6 comic book from which the movie is sourced.

text: Live-action

text:
In X-Men (2000), Lee appears as a hotdog stand vendor on the beach when the newly mutated Senator Kelly emerges naked onshore after escaping from Magneto.
In Spider-Man (2002), he appeared during Spider-Man's first battle with the Green Goblin, pulling a little girl away from falling debris. In the DVD's deleted scenes, Lee plays a street vendor who tries to sell Peter Parker a pair of sunglasses.
In Daredevil (2003), as a child, Matt Murdock stops Lee from crossing the street and getting hit by a bus. This is also a reference to an incident in the comics which was omitted from the origin story of the film.
In Hulk (2003), he appears walking alongside former TV-series Hulk Lou Ferrigno in an early scene, both as security guards at Bruce Banner's lab. It was his first speaking role in a film based on one of his characters.
In Spider-Man 2 (2004), Lee pulls an innocent person away from danger during Spider-Man's first battle with Doctor Octopus. In a blooper scene that appears as an extra on the film's DVD release, Lee has another cameo, saying, "Look, Spider-Man stole that kid's sneakers."
In Man-Thing (2005), a photograph of Lee is seen on a board of missing people.[151]
In Fantastic Four (2005), Lee appears for the first time as a character that he created for the comics, Willie Lumpkin, the mail carrier who greets the Fantastic Four as they enter the Baxter Building.
In X-Men: The Last Stand (2006), Lee and Chris Claremont appear as two of Jean Grey's neighbors in the opening scenes set 20 years in the past. Lee, credited as "Waterhose Man", is watering the lawn when Jean telekinetically redirects the water from the hose into the air.
In Fantastic Four: Rise of the Silver Surfer (2007), Lee appears as himself at Reed Richards' and Susan Storm's first wedding, being turned away by a security guard for not being on the guest list. In Fantastic Four Annual #3 (1965), in which the couple married, Lee and Jack Kirby are similarly turned away.
In Spider-Man 3 (2007), Lee appears in a credited role as "Man in Times Square". He stands next to Peter Parker, both of them reading a news bulletin about Spider-Man, and commenting to Peter that, "You know, I guess one person can make a difference". He then says his catchphrase, "'Nuff said" and leaves Peter to dwell on that thought.
In Iron Man (2008), Lee, credited as "Himself", appears at a gala cavorting with three blondes, where Tony Stark mistakes him for Hugh Hefner.[152] In the theatrical release of the film, Stark simply greets Lee as "Hef" and moves on; another version of the scene was filmed where Stark realizes his mistake, but Lee graciously responds, "That's okay, I get this all the time."[153] In 2008, Stan Lee named this as his favorite cameo appearance to that date.[154]
In The Incredible Hulk (2008), Lee appears as a hapless citizen who accidentally ingests a soft drink mixed with Bruce Banner's blood, subsequently dropping it and leading to the discovery of Dr. Banner's location in a bottling plant in Brazil.
In Iron Man 2 (2010), during the Stark Expo, Lee, wearing suspenders and a red shirt and black and purple tie, is mistakenly greeted by Tony Stark as "Larry King".
In Thor (2011), Lee appears among many people at the site where Thor's hammer Mjolnir lands on earth. He tears the bed off his pickup truck in an attempt to pull Mjolnir out of the ground with a chain and causes everyone in the scene to laugh by asking, "Did it work?". His character is credited as "Stan the Man", a nickname he'd adopted in the Silver Age of Comic Books.
In Captain America: The First Avenger (2011), Lee plays a general in World War II who mistakes another man for Captain America/Steve Rogers, commenting, "I thought he'd be taller." Lee had nothing to do with the basic creation of the title character. However, Lee began his writing career in the character's original series where he created the idea of Captain America using his shield as a throwing weapon. Furthermore, he was responsible for reviving the character in the Silver Age of Comic Books and co-wrote most of the character's stories in The Avengers and his solo stories in that period.
In The Avengers (2012), Lee's character is interviewed about the Avengers saving Manhattan. Lee's character responds, "Superheroes in New York? Give me a break", and then returns to his game of chess.[155] He also appears in a deleted scene in which, when a waitress flirts with Steve Rogers, Lee says to him, "Ask for her number, you moron!"[156]
In The Amazing Spider-Man (2012), Lee is a librarian at Midtown Science High School, comically oblivious to the fight between Spider-Man and the Lizard happening behind him (a table nearly hits him as well) due to the fact that he is listening to classical music. He walks out of the library as the fight continues.[157]
In Iron Man 3 (2013), Lee portrays a beauty pageant judge who appears on a television monitor and happily gives one of the contestants a 10.[158]
In Thor: The Dark World (2013), Lee appears as a mental ward patient who loans his shoe to Erik Selvig for a demonstration about "the Convergence" in his delusions. When Selvig finishes and asks if anyone has questions, Lee says, "Yeah, can I have my shoe back"?[159]
In Captain America: The Winter Soldier (2014), Lee plays a security guard at the Smithsonian Institution who after discovering that Captain America stole his own World War II uniform from an exhibit, says, "Oh man, I am so fired."
In The Amazing Spider-Man 2 (2014), Lee is a guest at Peter Parker and Gwen Stacy's graduation. He notes that he recognizes Peter Parker.
In Guardians of the Galaxy (2014), Lee appears as an elderly gentleman having a conversation with a significantly younger woman. Rocket, viewing him through a scanning device, dismisses him as part of what he saw was wrong with the planet Xandar. With the exception of Groot, Ronan and The Collector, Lee did not have a hand in the creation of the Guardians of the Galaxy.
In Avengers: Age of Ultron (2015), he appears as a military veteran who attends the Avengers' victory party. He claims he fought at Omaha Beach and that it proves he can handle a shot of Asgardian liquor from Thor, but is then carried away drunk, muttering his catchphrase, "Excelsior!"[160] Lee noted that this was his favorite cameo.[161]
In Ant-Man (2015), Lee appears as a bartender in a story Luis tells to Scott Lang explaining that Falcon was looking for him.[162]
In Deadpool (2016), Lee appears as himself, working as an MC at a strip club.[163] Lee did not have a hand in the creation of the character Deadpool.
In Captain America: Civil War (2016), Lee appears as a FedEx postman, delivering a package from Steve Rogers to Tony Stark at the end of the film, mispronouncing Stark's name as Tony "Stank".
In X-Men: Apocalypse (2016), Lee is shown viewing the rising nuclear weapons launched by Apocalypse next to his wife Joan.
In Doctor Strange (2016), Lee appears as a bus rider reading Aldous Huxley's The Doors of Perception, oblivious to a battle between Doctor Strange and Mordo and Kaecilius and his followers.[164][164]
Lee makes a cameo appearance in No Good Deed (2017), a short film aired before Logan in North America, in which Lee plays himself and says to Deadpool "Wow, nice suit!" to which Deadpool replies "Zip it, Stan Lee!". Lee's cameo appearance was cut from the theatrical version of the short film but was restored in the version released on star Ryan Reynolds' Youtube account page. Lee later thanked Reynolds for restoring his cameo.[165]
In Guardians of the Galaxy Vol. 2 (2017), Lee appears as an astronaut telling a story to The Watchers, mentioning his stint as a deliveryman in Captain America: Civil War.[166] He appears again in one of the end credits scenes, where the Watchers leave, tired of his stories as he quotes to them that they are his only ride back to Earth. The Watchers, along with Ego, were co-created by Lee. Lee also makes an appearance in the music video for the song "Guardians Inferno".[167]
In Spider-Man: Homecoming (2017), Lee appears as an annoyed neighbor named Gary who, after witnessing Spider-Man mistakenly accosting an innocent civilian says to him, "Don’t make me come down there, you punk!"[168][169]
In Thor: Ragnarok (2017), Lee appears as a servant to the Grandmaster on Sakaar who cuts Thor's hair.
In Black Panther (2018), Lee appears as a patron of a casino in Busan, South Korea.
In Avengers: Infinity War (2018), Lee appears as the driver of Peter Parker's school bus. When the students on the bus watch Ebony Maw's ship arriving, the driver says, "What's the matter with you kids? You never seen a spaceship before?"[170]
In Deadpool 2, Lee appears in graffiti art as Domino is flying through the city.[171]
Lee will make a cameo appearance in Ant-Man and the Wasp (2018).[170]

text: Warner Bros./DC properties

text: In the original February 7, 1998, broadcast airing of the Superman: The Animated Series episode "Apokolips... Now! Part 2" on the Kids' WB programming block, an animated Funky Flashman was visible mourning the death of Daniel "Terrible" Turpin, a character based on his longtime Marvel Comics collaborator Jack Kirby. This shot was later modified to remove the likeness of Lee and of other background Marvel characters when the episode was released on DVD.[172][173]

text: Other film, TV, and video

text:
In the 1990s, Lee hosted the documentary series The Comic Book Greats and interviewed notable comic book creators such as Chris Claremont, Jim Lee, Todd McFarlane, Rob Liefeld, and Whilce Portacio.
In the 1994-1995 syndicated television block The Marvel Action Hour, Lee appeared as himself to give brief introductions to each episode of Iron Man and the Fantastic Four animated series.
Lee has an extensive cameo in the 1995 Kevin Smith film Mallrats. He plays himself, this time visiting the mall to sign books at a comic store. Later, he takes on the role of a sage-like character, giving Jason Lee's character, Brodie Bruce (a longtime fan of Stan's), advice on his love life. He also recorded interviews with Smith for the non-fiction video Stan Lee's Mutants, Monsters & Marvels (2002). Lee made a second cameo in Smith's 2016 film Yoga Hosers as a police officer.
Lee is the host of the 2010 History Channel documentary series Stan Lee's Superhumans.
Lee plays himself in the 2011 Frankie Muniz film Pizza Man.
Lee makes a cameo appearance as the "Three Stooges Wedding Guest" in the 2004 Disney film The Princess Diaries 2: Royal Engagement.
Lee hosted and judged contestants in the SyFy series Who Wants to Be a Superhero?
Lee appears with director Kevin Smith and 2000s Marvel editor-in-chief Joe Quesada in the DVD program Marvel Then & Now: An Evening with Stan Lee and Joe Quesada, hosted by Kevin Smith.
Lee was interviewed on the History Channel show Superhuman by Daniel Browning Smith, who held several Guinness Records for extreme flexibility[174] due to having Ehlers-Danlos syndrome, a genetic condition affecting collagen formation. Smith had created his own comic book to display his own struggles as an outcast for his flexibility, and legitimately surprised Lee with a quick demonstration of his talent.
In the animated series Jim Henson's Muppet Babies, Lee plays himself in a live-action scene of the "Comic Capers" episode.
Lee appeared as himself in an extended self-parodying sketch on the episode "Tapping a Hero" of Robot Chicken.
Lee appears as himself in writer-director Larry Cohen's The Ambulance (1990), in which Eric Roberts plays an aspiring comics artist.[175]
In "I Am Furious (Yellow)", a season 13 episode of The Simpsons, Lee voices an animated version of himself. Lee also appeared on the commentary track along with other Simpsons writers and directors on the episode for The Simpsons Season 13 box set released in 2010. In a later episode, "Worst Episode Ever", Lee's picture is seen next to several others on the wall behind the register, under the heading "Banned for life". Lee later officiated Comic Book Guy's wedding in "Married to the Blob".
Lee appears as himself in Mark Hamill's 2004 film Comic Book: The Movie, a direct-to-video mockumentary primarily filmed at the 2002 San Diego Comic-Con.
Lee made an appearance on December 21, 2006, on the NBC game show Identity.
Lee appeared as himself in "The Excelsior Acquisition", a third season episode of The Big Bang Theory, in March 2010.[176] He appears at the front door of his house wearing Fantastic Four pajamas (ultimately calling back into the house, "Joanie, call the police!" to get rid of Sheldon, who showed up after missing a comic book signing at the local store), and orders a restraining order against him.
He plays a bus driver in the sixteenth episode of the first season of Heroes.[177]
Lee made a guest appearance as himself in "Bottom's Up", a season seven episode of the TV series Entourage.
He guest-starred as Dr. Lee (aka: Generalissimo) in "Glimpse", a season four episode of Eureka that aired in July 2011.[178]
Lee appears in "The Guardian", the October 7, 2010, episode of Nikita, as Hank Excelsior, a witness to a bank robbery who is interviewed by a TV reporter.
Lee was interviewed in the 2011 documentary Superheroes.
Lee appears in X Japan's unreleased music video for their song "Born to Be Free".[179]
Lee portrayed himself at a CIA holiday party in the fifth season of Chuck, in which it is revealed in that universe he secretly works for the government and has a romantic interest in General Beckman.
Lee appeared in the eleventh episode of season five of The Guild, in which he was captured at a convention by the character Zaboo's Master Chief cosplaying henchmen.[180]
Lee lent his voice to "The Amazing Man-Spider", a segment of the May 13, 2013 episode of the satirical animated TV series MAD. The segment depicts the story of what happened to the radioactive spider that bit Peter Parker.[181]
Lee portrayed a future version of Tony Stark in "Episode 205 – The Future!" of the comedy web series Avengers Assemble!. In this episode, he delivered from the future a cryptic message to the rest of his fellow Avengers, but constantly frustrated his companions due to his ineptness with the technology of his future era.[182]
He was the subject of an April 2012 Epix cable-network documentary, "With Great Power: The Stan Lee Story.”[183]
Lee appeared as a judge in the second season premiere of the web series Video Game High School.[184]
In the Phineas and Ferb crossover special, Mission Marvel, Lee cameos as a New York City hot dog vendor.[185]
Lee is among the interview subjects in Superheroes: A Never-Ending Battle, a three-hour documentary narrated by Liev Schreiber, which premiered on PBS in October 2013.[186]
Lee's Chakra the Invincible was scheduled to premiere on Rovio Entertainment's ToonsTV channel in 2014.[187]
Lee filmed a cameo in the 2010 film Kick-Ass, as a man watching news footage of the title character but was cut out from the film.[188]
Lee made a brief cameo in the 2014 animated film Jay & Silent Bob's Super Groovy Cartoon Movie. During his appearance, Lee visits Bluntman and Chronic to talk to them about the "Avenger Initiative".
Lee made a cameo in Bart Baker's parody of "Elastic Heart" by Sia when he bails Sia (played by Amanda Hosler) out of jail for the pedophilia in her Elastic Heart video to star in her own superhero movie with Shia LaBeouf (played by Baker) and Kanye West (played by Warren Barrow) as the main villain.
Lee appears several times in the refurbished version of The Amazing Adventures of Spider-Man.[189]
Lee was slated to portray himself in the sequel to Mallrats, Mallbrats.[190]
Lee made a cameo appearance in a web-series called "Super Power Beat Down" where he plays a man reading a newspaper who tells Spider-Man and Darth Maul to keep the noise down or else he will get angry.
Lee makes a cameo in a short film called Spider-Man: Homecoming — NBA Finals, which aired on ABC as a promotion for Spider-Man: Homecoming; Lee utters the exact same dialogue as the Graduation guest he portrayed in the 2014 film The Amazing Spider-Man 2.
Lee makes a cameo as one of the Collector's prisoners in Guardians of the Galaxy Mission Breakout.[191]

text: Video games and applications

text:
Lee narrates the 2000 video game Spider-Man,[192] the 2001 sequel Spider-Man 2: Enter Electro,[193] and 2010's Spider-Man: Shattered Dimensions.[194]
Lee made his first-ever onscreen video game appearance as a senator named after himself in Marvel Ultimate Alliance 2.[195]
Lee narrates The Avengers Origins: Hulk and Avengers Origins: Assemble! apps for the iPad, iPhone, and iPod Touch, which were released by Disney Publishing Worldwide in February 2012.[196]
Lee is a playable character in Activision's The Amazing Spider-Man video game, which was released in June 2012, as a tie-in to the film of the same name. In the game, Lee is depicted as having the same superpowers as Spider-Man, and uses them to retrieve the pages of a new comic book manuscript that he had lost and were subsequently scattered around Manhattan.[197] He also voices a character with his first name in the main story mode, who calls Peter about the charges to his credit card when Peter's walking to Dr. Connor's sewer lab.
Lee appears as a playable Lego version of himself in Lego Marvel Super Heroes where he was able to turn into Stan-Hulk [198] released October 2013.[199]
Lee reprised his role, appearing as himself in The Amazing Spider-Man 2 video game, which was released in April 2014, as a tie-in to the film of the same name.
Lee appears as a playable Lego version of himself in Lego Marvel's Avengers where he is able to turn into Stan-Hulk, Iron Stan and the StanBuster.
Lee appears as a playable Lego version of himself in Lego Marvel Super Heroes 2 where he has the powers of Thor, Galactus, and Spider-Man is able to complete Gwenpool missions

text: Personal life

text: Lee was raised in a Jewish family. In a 2002 survey of whether he believes in God, he stated, "Well, let me put it this way... [Pauses.] No, I'm not going to try to be clever. I really don't know. I just don't know."[200]

text: From 1945 to 1947, Lee lived in the rented top floor of a brownstone in the East 90s in Manhattan.[201] He married Joan Clayton Boocock on December 5, 1947,[202][203] and in 1949, the couple bought house at 1084 West Broadway in Woodmere, New York, on Long Island, living there through 1952.[204] Their daughter Joan Celia "J. C." Lee was born in 1950. Another child, daughter Jan Lee, died three days after delivery in 1953.[205] The Lees resided at 226 Richards Lane in the Long Island town of Hewlett Harbor, New York, from 1952 to 1980.[206] They also owned a condominium at 220 East 63rd Street in Manhattan from 1975 to 1980,[207] and, during the 1970s, a vacation home on Cutler Lane in Remsenburg, New York.[208] For their move to the west coast in 1981, he and his wife bought a home in West Hollywood, California previously owned by comedian Jack Benny's radio announcer, Don Wilson.[209]

text: In late September 2012, Lee underwent an operation to insert a pacemaker, cancelling planned appearances at conventions.[210][211]

text: On July 6, 2017, his wife of 69 years, Joan, died of complications from a stroke. She was 95 years old.[212]

text: Filmography

text: Film

text:
Year
Film
Role
Notes

1973
L'An 01[citation needed]

Cameo

1989
The Trial of the Incredible Hulk
Jury Foreman
TV movie

1990
The Ambulance
Himself
Cameo

1995
Mallrats

2000
X-Men
Hotdog Stand Vendor

2000
Citizen Toxie: The Toxic Avenger IV
Narrator (voice)

2000
The Adventures of Cinderella's Daughter
Priest

2002
Spider-Man
Man Saving Girl

2003
Daredevil
Man Crossing Street

2003
Hulk
Security Guard

2004
Spider-Man 2
Man Saving Innocent Person

2004
Comic Book: The Movie
Himself

2004
The Princess Diaries 2: Royal Engagement
Three Stooges Wedding Guest

2005
Fantastic Four
Willie Lumpkin

2005
Conflict
Trevor
Short film, cameo

2006
X-Men: The Last Stand
Man with waterhose
Cameo

2007
Fantastic Four: Rise of the Silver Surfer
Himself

2007
Spider-Man 3
Man in Times Square

2007
Mosaic
Stanley

2007
The Condor
Grandfather

2008
Iron Man
Himself;[213]
Credited as "Man mistaken as Hugh Hefner"

2008
The Incredible Hulk
Himself;[213]
Credited as "Hapless citizen"

2010
Iron Man 2
Himself;[213]
Credited as "Man mistaken as Larry King"

2011
Thor
Himself;[213]
Credited as "Pickup truck driver"

2011
Captain America: The First Avenger
Himself;[213]
Credited as "General"

2011
Pizza Man
Himself

2012
The Avengers
Himself;[213]
Credited as "Random citizen"

2012
The Amazing Spider-Man
Librarian

2013
Jay & Silent Bob's Super Groovy Cartoon Movie
Himself (voice)

2013
Iron Man 3
Himself;[213]
Credited as "Beauty pageant judge"

2013
Thor: The Dark World
Himself;[213]
Credited as "Mental ward patient"

2013
Return to Nuke 'Em High Volume 1
Narrator (Uncredited)

2014
Captain America: The Winter Soldier[214]
Himself;[213]
Credited as "Smithsonian guard"

2014
The Amazing Spider-Man 2[215]
Graduation guest

2014
Guardians of the Galaxy[216]
Himself;[213]
Credited as "Xandarian ladies' man"

2014
Big Hero 6
Fred's Dad (voice)
Post-credits cameo

2015
Avengers: Age of Ultron
Himself;[213]
Credited as "Military veteran"
Cameo

2015
Ant-Man
Himself;[213]
Credited as "Bartender"

2016
Deadpool
Stripclub DJ

2016
Captain America: Civil War
Himself;[213]
Credited as "FedEx delivery worker"

2016
X-Men: Apocalypse
Himself

2016
Yoga Hosers
Dispatcher

2016
Doctor Strange
Himself;[213]
Credited as "Bus passenger"

2017
No Good Deed
Himself
Short film, aired before Logan, cameo only appears in online version.

2017
Guardians of the Galaxy Vol. 2
Himself;[213]
Credited as "The Watchers' Informant"
Cameo

2017
Spider-Man: Homecoming — NBA Finals
Himself;[213]
Credited as "Old Man on Street"
Short film, aired on ABC as a promotion for Spider-Man: Homecoming,
Lee utters the exact same dialogue as the Graduation guest portrayed
by him in the 2014 film The Amazing Spider-Man 2.

2017
Spider-Man: Homecoming
Himself;[213]
Credited as "Gary"
Cameo

2017
Thor: Ragnarok
Himself;[213]
Credited as "Barber"

2018
Black Panther
Himself;[213]
Credited as "Thirsty Gambler"

2018
Avengers: Infinity War
Himself;[213]Credited as "School Bus driver"

2018
Ant-Man and the Wasp
TBA
Post-production, cameo[217]

2019
Captain Marvel
TBA

2019
Untitled Avengers film
TBA
Post-production, cameo[217]

tag: table

text: Television

text:
Year
Series
Role
Notes

1981–1983
Spider-Man and His Amazing Friends
Narrator (voice)
15 episodes; Also Executive producer

1982–1983
The Incredible Hulk
13 episodes; Also Executive producer

1989
X-Men: Pryde of the X-Men
Himself/Narrator (voice)
Episode: "Pilot"

1989
Muppet Babies
Himself (voice)
Episode: "Comic Capers"

1991–1992
The Comic Book Greats
Himself (host)
13 episodes; Also Creator, executive producer

1998
Spider-Man
Himself (voice)
Episode: "Spider Wars, Chapter 2: Farewell Spider-Man"; Also Executive producer

1994
Fantastic Four
2 episodes; Also Executive producer

1997
The Incredible Hulk
Cliff Walters (voice)
Episode: "Down Memory Lane"; Also Executive producer

2002
The Simpsons
Himself (voice)
Episode: "I Am Furious (Yellow)"

2003
Spider-Man: The New Animated Series
Frank Elson (voice)
Episode: "Mind Games: Part 1"

2003
Stripperella
Jerry (voice)
Episode: "Crime Doesn't Pay... Seriously, It Doesn't"; Also Creator, Executive producer

2003–2004
Madtv
Himself
2 episodes

2006
Identity
Himself
Episode: "1.4"

2006–2007
Who Wants to Be a Superhero?
Himself (host)
14 episodes; Also Creator, Executive Producer

2007–2013
Robot Chicken
Himself (voice)
3 episodes

2007
Heroes
Bus Driver
Episode: "Unexpected"

2009
The Spectacular Spider-Man
Stan (voice)
Episode: "Blueprints"; Also Executive producer

2009–2011
The Super Hero Squad Show
Mayor of Superhero City (voice)
12 episodes; Also Creator, executive producer

2010
Black Panther
General Wallace (voice)
Episode: "Pilot"

2010
The Big Bang Theory
Himself
Episode: "The Excelsior Acquisition"

2010
Entourage
Episode: "Bottoms Up"

2010
Nikita
Hank Excelsior
Episode: "The Guardian"

2010–2014
Stan Lee's Superhumans
Himself (co-host)
Also Creator, Executive Producer

2011
Eureka
Himself
Episode: "Glimpse"

2011
The Guild
Episode: "Costume Contest"

2011–2014
Avengers Assemble!
Future Tony / Future Tony Stark
Episodes: "The Future!", "Stop & Frisk", "Copyright Infringement"

2012–2017
Ultimate Spider-Man
Stan the Janitor (voice)
Recurring Role

2013
Mad
Bird Scientist, Papa Smurf, The Amazing Man-Spider Announcer (voice)
Episode: "Papa / 1600 Finn"

2013
Phineas and Ferb
New York City Hot Dog Vendor (voice)
Episode: "Phineas and Ferb: Mission Marvel"

2013
Superheroes: A Never-Ending Battle
Himself
3 Episodes

2013
Fangasm[218]
Himself
Episode: "Beam Me Up, Stan"

2013
Lego Marvel Super Heroes: Maximum Overload
Hot Dog Vendor (voice)
Episode: "Assault, Off-Asgard!"

2013–2015
Hulk and the Agents of S.M.A.S.H.
Stan the Salesman (voice)
Recurring Role

2014
The Simpsons
Himself (voice)
Episode: "Married to the Blob"

2014
Agents of S.H.I.E.L.D.
Himself;[213]
Credited as "Debonair Gentleman"
Episode: "T.R.A.C.K.S."

2014
Hell's Kitchen
Himself
Season 12 Episode 18: 5 Chef's Compete

2014
Marvel 75 Years: From Pulp to Pop!
Himself

2015
Agent Carter
Himself;[213]
Credited as "Shoeshine customer"
Episode: "The Blitzkrieg Button"

2016
Captain America: 75 Heroic Years
Himself

2016
Stan Lee's Lucky Man
Season 1 Episode 1: More Yang Than Yin

2017
Big Hero 6: The Series[219]
Fred's Dad

2017
The Gifted
Himself[220]
Episode: eXposed (Non-speaking cameo)

2017
Runaways
Himself
Episode: Metamorphosis

text: Video games

text:
Year
Video Game
Voice

2000
Spider-Man
Narrator

2001
Spider-Man 2: Enter Electro

2009
Marvel: Ultimate Alliance 2
Senator Lieber

Marvel Super Hero Squad
Mayor of Superhero City

2010
Spider-Man: Shattered Dimensions
Narrator

2012
The Amazing Spider-Man
Himself

2013
Lego Marvel Super Heroes

2014
The Amazing Spider-Man 2

Family Guy: The Quest for Stuff

2016
Lego Marvel Avengers

2017
Lego Marvel Super Heroes 2

text: Accolades

text:
Year
Award
Nominated work
Result

1974
Inkpot Award[221]

Won

1994
The Will Eisner Award Hall of Fame[222]

1995
Jack Kirby Hall of Fame[223]

2002
Saturn Award
The Life Career Award

2008
National Medal of Arts[224]

2009
Hugo Award
Hugo Award for Best Dramatic Presentation- Iron Man
Nominated

Scream Awards[225]
Comic-Con Icon Award
Won

2011
Hollywood Walk of Fame[226]

2012
Visual Effects Society Awards
Lifetime Achievement Award

Producers Guild of America[227]
Vanguard Award

2017
National Academy of Video Game Trade Reviewers[228]
Performance in a Comedy, Supporting

text:
The County of Los Angeles declared October 2, 2009 "Stan Lee Day".[229]
The City of Long Beach declared October 2, 2009 "Stan Lee Day".[229]

text: On July 14, 2017, Lee and Jack Kirby were named Disney Legends for their creation of numerous characters that would comprise Disney's Marvel Cinematic Universe.[230]

text: On July 18, 2017, as part of D23 Disney Legends event, a ceremony was held on TCL Chinese Theatre in Hollywood Boulevard where Stan Lee imprinted his hands, feet and signature in cement.[231]

text: Bibliography

text: Books

text:
Lee, Stan; Mair, George (2002). Excelsior!: The Amazing Life of Stan Lee. Simon & Schuster. ISBN 978-0-7432-2800-8.
Lee, Stan (1997) [Originally published by Simon & Schuster in 1974]. Origins of Marvel Comics. Marvel Entertainment Group. ISBN 978-0-7851-0551-0.
Lee, Stan; David, Peter (2015). Amazing, Fantastic, Incredible. Simon & Schuster.

text: Comics bibliography

text: Lee's comics work includes:[82]

text: DC

text:
DC Comics Presents: Superman #1 (2004)
Detective Comics #600 (1989, text piece)
Just Imagine Stan Lee creating:

Aquaman (with Scott McDaniel) (2002)
Batman (with Joe Kubert) (2001)
Catwoman (with Chris Bachalo) (2002)
Crisis (with John Cassaday) (2002)
Flash (with Kevin Maguire) (2002)
Green Lantern (with Dave Gibbons) (2001)
JLA (with Jerry Ordway) (2002)
Robin (with John Byrne) (2001)
Sandman (with Walt Simonson) (2002)
Secret Files and Origins (2002)
Shazam! (with Gary Frank) (2001)
Superman (with John Buscema) (2001)
Wonder Woman (with Jim Lee) (2001)

text: Marvel

text:
The Amazing Spider-Man #1–100, 105–110, 116–118, 200, Annual #1–5, 18 (1962–84); (backup stories): #634–645 (2010–11)
The Amazing Spider-Man, strips (1977–present)[232]
Avengers #1–35 (1963–66)
Captain America #100–141 (1968–71) (continues from Tales of Suspense #99)
Daredevil, #1–9, 11–50, 53, Annual #1 (1964–69)
Daredevil, vol. 2, #20 (backup story) (2001)
Epic Illustrated #1 (Silver Surfer) (1980)
Fantastic Four #1–114, 120–125, Annual #1–6 (1961–72); #296 (1986)
The Incredible Hulk #1–6 (continues to Tales to Astonish #59)
The Incredible Hulk, vol. 2, #108–120 (1968–69)
Journey into Mystery (Thor) plotter #83–96 (1962–63), writer #97–125, Annual #1 (1963–66) (continues to Thor #126)
The Mighty Thor #126–192, 200, Annual #2 (1966–72), 385 (1987)
Nightcat #1 (1991)
Ravage 2099 #1–7 (1992–93)
Savage She-Hulk #1 (1980)
Sgt. Fury and his Howling Commandos #1–28, Annual #1 (1963–66)
Silver Surfer #1–18 (1968–70)
Silver Surfer, vol. 2, #1 (1982)
Silver Surfer: Judgment Day (1988) ISBN 978-0-87135-427-3
Silver Surfer: Parable #1–2 (1988–89)
Silver Surfer: The Enslavers (1990) ISBN 978-0-87135-617-8
Solarman #1–2 (1989–90)
The Spectacular Spider-Man Annual #10 (1990)
Strange Tales (diverse stories): #9, 11, 74, 89, 90–100 (1951–62); (Human Torch): #101–109, 112–133, Annual #2; (Doctor Strange): #110–111, 115–142, 151–158 (1962–67); (Nick Fury, Agent of S.H.I.E.L.D.: #135–147, 150–152 (1965–67)
Tales to Astonish (diverse stories): #1, 6, 12–13, 15–17, 24–33 (1956–62); Ant-Man/Giant Man: #35–69 (1962–65) (The Hulk: #59–101 (1964–1968); Sub-Mariner: #70–101 (1965–68)
Tales of Suspense (diverse stories):#7, 9, 16, 22, 27, 29–30 (1959–62); (Iron Man): plotter #39–46 (1963), writer #47–98 (1963–68) (Captain America): #58–86, 88–99 (1964–68)
Web of Spider-Man Annual #6 (1990)
What If (Fantastic Four) #200 (2011)
The X-Men #1–19 (1963–66)

text: Simon & Schuster

text: The Silver Surfer: The Ultimate Cosmic Experience, 114 pages, September 1978, ISBN 978-0-671-24225-1

text: Other

text:
Heroman
How to Draw Comics the Marvel Way
Ultimo (manga original concept)


document_title: Bauhaus

question_text: the bauhaus symbolically represented germany's recovery from which event

question_tokens: the bauhaus symbolically represented germany 's recovery from which event

text: Bauhaus

text: Bauhaus and German modernism[edit]

text: Germany's defeat in World War I, the fall of the German monarchy and the abolition of censorship under the new, liberal Weimar Republic allowed an upsurge of radical experimentation in all the arts, which had been suppressed by the old regime. Many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism. Such influences can be overstated: Gropius did not share these radical views, and said that Bauhaus was entirely apolitical.[5] Just as important was the influence of the 19th century English designer William Morris, who had argued that art should meet the needs of society and that there should be no distinction between form and function.[6] Thus, the Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design.

text: However, the most important influence on Bauhaus was modernism, a cultural movement whose origins lay as early as the 1880s, and which had already made its presence felt in Germany before the World War, despite the prevailing conservatism. The design innovations commonly associated with Gropius and the Bauhaus—the radically simplified forms, the rationality and functionality, and the idea that mass production was reconcilable with the individual artistic spirit—were already partly developed in Germany before the Bauhaus was founded. The German national designers' organization Deutscher Werkbund was formed in 1907 by Hermann Muthesius to harness the new potentials of mass production, with a mind towards preserving Germany's economic competitiveness with England. In its first seven years, the Werkbund came to be regarded as the authoritative body on questions of design in Germany, and was copied in other countries. Many fundamental questions of craftsmanship versus mass production, the relationship of usefulness and beauty, the practical purpose of formal beauty in a commonplace object, and whether or not a single proper form could exist, were argued out among its 1,870 members (by 1914).

text: The entire movement of German architectural modernism was known as Neues Bauen. Beginning in June 1907, Peter Behrens' pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. He designed consumer products, standardized parts, created clean-lined designs for the company's graphics, developed a consistent corporate identity, built the modernist landmark AEG Turbine Factory, and made full use of newly developed materials such as poured concrete and exposed steel. Behrens was a founding member of the Werkbund, and both Walter Gropius and Adolf Meyer worked for him in this period.

text: The Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to the matter-of-fact New Objectivity. An entire group of working architects, including Erich Mendelsohn, Bruno Taut and Hans Poelzig, turned away from fanciful experimentation, and turned toward rational, functional, sometimes standardized building. Beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a "minimal dwelling" written into the new Weimar Constitution. Ernst May, Bruno Taut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, and sometimes fierce public debate.

text: Bauhaus and Vkhutemas[edit]

text: The Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school, Vkhutemas has close parallels to the German Bauhaus in its intent, organization and scope. The two schools were the first to train artist-designers in a modern manner.[7] Both schools were state-sponsored initiatives to merge the craft tradition with modern technology, with a basic course in aesthetic principles, courses in color theory, industrial design, and architecture.[7] Vkhutemas was a larger school than the Bauhaus,[8] but it was less publicised outside the Soviet Union and consequently, is less familiar in the West.[9]

text: With the internationalism of modern architecture and design, there were many exchanges between the Vkhutemas and the Bauhaus.[10] The second Bauhaus director Hannes Meyer attempted to organise an exchange between the two schools, while Hinnerk Scheper of the Bauhaus collaborated with various Vkhutein members on the use of colour in architecture. In addition, El Lissitzky's book Russia: an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects there.

text: History of the Bauhaus[edit]

text: Weimar[edit]

text: The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts school founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906 and directed by Belgian Art Nouveau architect Henry van de Velde.[11] When van de Velde was forced to resign in 1915 because he was Belgian, he suggested Gropius, Hermann Obrist and August Endell as possible successors. In 1919, after delays caused by the destruction of World War I and a lengthy debate over who should head the institution and the socio-economic meanings of a reconciliation of the fine arts and the applied arts (an issue which remained a defining one throughout the school's existence), Gropius was made the director of a new institution integrating the two called the Bauhaus.[12] In the pamphlet for an April 1919 exhibition entitled "Exhibition of Unknown Architects", Gropius proclaimed his goal as being "to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist." Gropius' neologism Bauhaus references both building and the Bauhütte, a premodern guild of stonemasons.[13] The early intention was for the Bauhaus to be a combined architecture school, crafts school, and academy of the arts. In 1919 Swiss painter Johannes Itten, German-American painter Lyonel Feininger, and German sculptor Gerhard Marcks, along with Gropius, comprised the faculty of the Bauhaus. By the following year their ranks had grown to include German painter, sculptor and designer Oskar Schlemmer who headed the theater workshop, and Swiss painter Paul Klee, joined in 1922 by Russian painter Wassily Kandinsky. A tumultuous year at the Bauhaus, 1922 also saw the move of Dutch painter Theo van Doesburg to Weimar to promote De Stijl ("The Style"), and a visit to the Bauhaus by Russian Constructivist artist and architect El Lissitzky.[14]

text: From 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of Johannes Itten, who taught the Vorkurs or "preliminary course" that was the introduction to the ideas of the Bauhaus.[12] Itten was heavily influenced in his teaching by the ideas of Franz Cižek and Friedrich Wilhelm August Fröbel. He was also influenced in respect to aesthetics by the work of the Blaue Reiter group in Munich as well as the work of Austrian Expressionist Oskar Kokoschka. The influence of German Expressionism favoured by Itten was analogous in some ways to the fine arts side of the ongoing debate. This influence culminated with the addition of Der Blaue Reiter founding member Wassily Kandinsky to the faculty and ended when Itten resigned in late 1922. Itten was replaced by the Hungarian designer László Moholy-Nagy, who rewrote the Vorkurs with a leaning towards the New Objectivity favored by Gropius, which was analogous in some ways to the applied arts side of the debate. Although this shift was an important one, it did not represent a radical break from the past so much as a small step in a broader, more gradual socio-economic movement that had been going on at least since 1907 when van de Velde had argued for a craft basis for design while Hermann Muthesius had begun implementing industrial prototypes.[14]

text: Gropius was not necessarily against Expressionism, and in fact himself in the same 1919 pamphlet proclaiming this "new guild of craftsmen, without the class snobbery," described "painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future." By 1923 however, Gropius was no longer evoking images of soaring Romanesque cathedrals and the craft-driven aesthetic of the "Völkisch movement", instead declaring "we want an architecture adapted to our world of machines, radios and fast cars."[15] Gropius argued that a new period of history had begun with the end of the war. He wanted to create a new architectural style to reflect this new era. His style in architecture and consumer goods was to be functional, cheap and consistent with mass production. To these ends, Gropius wanted to reunite art and craft to arrive at high-end functional products with artistic merit. The Bauhaus issued a magazine called Bauhaus and a series of books called "Bauhausbücher". Since the Weimar Republic lacked the quantity of raw materials available to the United States and Great Britain, it had to rely on the proficiency of a skilled labor force and an ability to export innovative and high quality goods. Therefore, designers were needed and so was a new type of art education. The school's philosophy stated that the artist should be trained to work with the industry.[16][17]

text: Weimar was in the German state of Thuringia, and the Bauhaus school received state support from the Social Democrat-controlled Thuringian state government. The school in Weimar experienced political pressure from conservative circles in Thuringian politics, increasingly so after 1923 as political tension rose. One condition placed on the Bauhaus in this new political environment was the exhibition of work undertaken at the school. This condition was met in 1923 with the Bauhaus' exhibition of the experimental Haus am Horn.[18] The Ministry of Education placed the staff on six-month contracts and cut the school's funding in half. On 26 December 1924 the Bauhaus issued a press release and setting the closure of the school for the end of March 1925.[19][20] At this point they had already been looking for alternative sources of funding. After the Bauhaus moved to Dessau, a school of industrial design with teachers and staff less antagonistic to the conservative political regime remained in Weimar. This school was eventually known as the Technical University of Architecture and Civil Engineering, and in 1996 changed its name to Bauhaus-University Weimar.

text: Dessau[edit]

text: Gropius's design for the Dessau facilities was a return to the futuristic Gropius of 1914 that had more in common with the International style lines of the Fagus Factory than the stripped down Neo-classical of the Werkbund pavilion or the Völkisch Sommerfeld House.[21] During the Dessau years, there was a remarkable change in direction for the school. According to Elaine Hoffman, Gropius had approached the Dutch architect Mart Stam to run the newly founded architecture program, and when Stam declined the position, Gropius turned to Stam's friend and colleague in the ABC group, Hannes Meyer.

text: Meyer became director when Gropius resigned in February 1928,[1] and brought the Bauhaus its two most significant building commissions, both of which still exist: five apartment buildings in the city of Dessau, and the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes (ADGB Trade Union School) in Bernau bei Berlin. Meyer favored measurements and calculations in his presentations to clients, along with the use of off-the-shelf architectural components to reduce costs. This approach proved attractive to potential clients. The school turned its first profit under his leadership in 1929.

text: But Meyer also generated a great deal of conflict. As a radical functionalist, he had no patience with the aesthetic program, and forced the resignations of Herbert Bayer, Marcel Breuer, and other long-time instructors. Even though Meyer shifted the orientation of the school further to the left than it had been under Gropius, he didn't want the school to become a tool of left-wing party politics. He prevented the formation of a student communist cell, and in the increasingly dangerous political atmosphere, this became a threat to the existence of the Dessau school. Dessau mayor Fritz Hesse fired him in the summer of 1930.[22] The Dessau city council attempted to convince Gropius to return as head of the school, but Gropius instead suggested Ludwig Mies van der Rohe. Mies was appointed in 1930, and immediately interviewed each student, dismissing those that he deemed uncommitted. Mies halted the school's manufacture of goods so that the school could focus on teaching. Mies appointed no new faculty other than his close confidant Lilly Reich. By 1931, the National Socialist German Workers' Party  (Nazi Party) was becoming more influential in German politics. When they gained control of the Dessau City Council they moved to close the school.[23]

text: Berlin[edit]

text: In late 1932, Mies rented a derelict factory in Berlin (Birkbusch Street 49) to use as the new Bauhaus with his own money. The students and faculty rehabilitated the building, painting the interior white. The school operated for ten months without further interference from the Nazi Party. In 1933, the Gestapo closed down the Berlin school. Mies protested the decision, eventually speaking to the head of the Gestapo, who agreed to allow the school to re-open. However, shortly after receiving a letter permitting the opening of the Bauhaus, Mies and the other faculty agreed to voluntarily shut down the school[when?].[23]

text: Although neither the Nazi Party nor Adolf Hitler had a cohesive architectural policy before they came to power in 1933, Nazi writers like Wilhelm Frick and Alfred Rosenberg had already labeled the Bauhaus "un-German" and criticized its modernist styles, deliberately generating public controversy over issues like flat roofs. Increasingly through the early 1930s, they characterized the Bauhaus as a front for communists and social liberals. Indeed, a number of communist students loyal to Meyer moved to the Soviet Union when he was fired in 1930.

text: Even before the Nazis came to power, political pressure on Bauhaus had increased. The Nazi movement, from nearly the start, denounced the Bauhaus for its "degenerate art", and the Nazi regime was determined to crack down on what it saw as the foreign, probably Jewish influences of "cosmopolitan modernism".[1] Despite Gropius's protestations that as a war veteran and a patriot his work had no subversive political intent, the Berlin Bauhaus was pressured to close in April 1933. Emigrants did succeed, however, in spreading the concepts of the Bauhaus to other countries, including the "New Bauhaus" of Chicago:[24] Mies decided to emigrate to the United States for the directorship of the School of Architecture at the Armour Institute (now Illinois Institute of Technology) in Chicago and to seek building commissions.[a] The simple engineering-oriented functionalism of stripped-down modernism, however, did lead to some Bauhaus influences living on in Nazi Germany. When Hitler's chief engineer, Fritz Todt, began opening the new autobahn (highways) in 1935, many of the bridges and service stations were "bold examples of modernism"—among those submitting designs was Mies van der Rohe.[25]

text: Architectural output[edit]

text: The paradox of the early Bauhaus was that, although its manifesto proclaimed that the aim of all creative activity was building,[26] the school did not offer classes in architecture until 1927. During the years under Gropius (1919–1927), he and his partner Adolf Meyer observed no real distinction between the output of his architectural office and the school. So the built output of Bauhaus architecture in these years is the output of Gropius: the Sommerfeld house in Berlin, the Otte house in Berlin, the Auerbach house in Jena, and the competition design for the Chicago Tribune Tower, which brought the school much attention. The definitive 1926 Bauhaus building in Dessau is also attributed to Gropius. Apart from contributions to the 1923 Haus am Horn, student architectural work amounted to un-built projects, interior finishes, and craft work like cabinets, chairs and pottery.

text: In the next two years under Meyer, the architectural focus shifted away from aesthetics and towards functionality. There were major commissions: one from the city of Dessau for five tightly designed "Laubenganghäuser" (apartment buildings with balcony access), which are still in use today, and another for the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes (ADGB Trade Union School) in Bernau bei Berlin. Meyer's approach was to research users' needs and scientifically develop the design solution.

text: Mies van der Rohe repudiated Meyer's politics, his supporters, and his architectural approach. As opposed to Gropius's "study of essentials", and Meyer's research into user requirements, Mies advocated a "spatial implementation of intellectual decisions", which effectively meant an adoption of his own aesthetics. Neither van der Rohe nor his Bauhaus students saw any projects built during the 1930s.

text: The popular conception of the Bauhaus as the source of extensive Weimar-era working housing is not accurate. Two projects, the apartment building project in Dessau and the Törten row housing also in Dessau, fall in that category, but developing worker housing was not the first priority of Gropius nor Mies. It was the Bauhaus contemporaries Bruno Taut, Hans Poelzig and particularly Ernst May, as the city architects of Berlin, Dresden and Frankfurt respectively, who are rightfully credited with the thousands of socially progressive housing units built in Weimar Germany. The housing Taut built in south-west Berlin during the 1920s, close to the U-Bahn stop Onkel Toms Hütte, is still occupied.

text:
A stage in the Festsaal, Dessau

Ceiling with light fixtures for stage in the Festsaal, Dessau

Dormitory balconies in the residence, Dessau

Mechanically opened windows, Dessau

The Mensa (Cafeteria), Dessau

text: Impact[edit]

text: The Bauhaus had a major impact on art and architecture trends in Western Europe, the United States, Canada and Israel in the decades following its demise, as many of the artists involved fled, or were exiled by, the Nazi regime. Tel Aviv in 2004 was named to the list of world heritage sites by the UN due to its abundance of Bauhaus architecture;[27][28] it had some 4,000 Bauhaus buildings erected from 1933 onwards.

text: In 1928, the Hungarian painter Alexander Bortnyik founded a school of design in Budapest called Miihely (also "Muhely"[29] or "Mugely"[30]), which means "the studio".[31] Located on the seventh floor of a house on Nagymezo Street,[31] it was meant to be the Hungarian equivalent to the Bauhaus.[32] The literature sometimes refers to it—in an oversimplified manner—as "the Budapest Bauhaus".[33] Bortnyik was a great admirer of László Moholy-Nagy and had met Walter Gropius in Weimar between 1923 and 1925.[34] Moholy-Nagy himself taught at the Miihely. Victor Vasarely, a pioneer of Op Art, studied at this school before establishing in Paris in 1930.[35]

text: Walter Gropius, Marcel Breuer, and Moholy-Nagy re-assembled in Britain during the mid 1930s to live and work in the Isokon project before the war caught up with them. Gropius and Breuer went to teach at the Harvard Graduate School of Design and worked together before their professional split. Their collaboration produced The Aluminum City Terrace in New Kensington, Pennsylvania and the Alan I W Frank House in Pittsburgh, among other projects. The Harvard School was enormously influential in America in the late 1920s and early 1930s, producing such students as Philip Johnson, I. M. Pei, Lawrence Halprin and Paul Rudolph, among many others.

text: In the late 1930s, Mies van der Rohe re-settled in Chicago, enjoyed the sponsorship of the influential Philip Johnson, and became one of the pre-eminent architects in the world. Moholy-Nagy also went to Chicago and founded the New Bauhaus school under the sponsorship of industrialist and philanthropist Walter Paepcke. This school became the Institute of Design, part of the Illinois Institute of Technology. Printmaker and painter Werner Drewes was also largely responsible for bringing the Bauhaus aesthetic to America and taught at both Columbia University and Washington University in St. Louis. Herbert Bayer, sponsored by Paepcke, moved to Aspen, Colorado in support of Paepcke's Aspen projects at the Aspen Institute. In 1953, Max Bill, together with Inge Aicher-Scholl and Otl Aicher, founded the Ulm School of Design (German: Hochschule für Gestaltung—HfG Ulm) in Ulm, Germany, a design school in the tradition of the Bauhaus. The school is notable for its inclusion of semiotics as a field of study. The school closed in 1968, but the "Ulm Model" concept continues to influence international design education.[36]

text: The influence of the Bauhaus on design education was significant. One of the main objectives of the Bauhaus was to unify art, craft, and technology, and this approach was incorporated into the curriculum of the Bauhaus. The structure of the Bauhaus Vorkurs (preliminary course) reflected a pragmatic approach to integrating theory and application. In their first year, students learnt the basic elements and principles of design and colour theory, and experimented with a range of materials and processes.[37][38] This approach to design education became a common feature of architectural and design school in many countries. For example, the Shillito Design School in Sydney stands as a unique link between Australia and the Bauhaus. The colour and design syllabus of the Shillito Design School was firmly underpinned by the theories and ideologies of the Bauhaus. Its first year foundational course mimicked the Vorkurs and focused on the elements and principles of design plus colour theory and application. The founder of the school, Phyllis Shillito, which opened in 1962 and closed in 1980, firmly believed that "A student who has mastered the basic principles of design, can design anything from a dress to a kitchen stove".[39]

text: One of the most important contributions of the Bauhaus is in the field of modern furniture design. The ubiquitous Cantilever chair and the Wassily Chair designed by Marcel Breuer are two examples. (Breuer eventually lost a legal battle in Germany with Dutch architect/designer Mart Stam over the rights to the cantilever chair patent. Although Stam had worked on the design of the Bauhaus's 1923 exhibit in Weimar, and guest-lectured at the Bauhaus later in the 1920s, he was not formally associated with the school, and he and Breuer had worked independently on the cantilever concept, thus leading to the patent dispute.) The single most profitable tangible product of the Bauhaus was its wallpaper.

text: The physical plant at Dessau survived World War II and was operated as a design school with some architectural facilities by the German Democratic Republic. This included live stage productions in the Bauhaus theater under the name of Bauhausbühne ("Bauhaus Stage"). After German reunification, a reorganized school continued in the same building, with no essential continuity with the Bauhaus under Gropius in the early 1920s.[40] In 1979 Bauhaus-Dessau College started to organize postgraduate programs with participants from all over the world. This effort has been supported by the Bauhaus-Dessau Foundation which was founded in 1974 as a public institution.

text: Later evaluation of the Bauhaus design credo was critical of its flawed recognition of the human element, an acknowledgment of "… the dated, unattractive aspects of the Bauhaus as a projection of utopia marked by mechanistic views of human nature…Home hygiene without home atmosphere."[41]

text: The White City[edit]

text: The White City of Tel Aviv (Hebrew: העיר הלבנה, Ha-Ir HaLevana) refers to a collection of over 4,000 Bauhaus or International style buildings built in Tel Aviv from the 1930s by German Jewish architects who emigrated to the British Mandate of Palestine after the rise of the Nazis. Tel Aviv has the largest number of buildings in this style of any city in the world. In 2003, the United Nations Educational, Scientific and Cultural Organization (UNESCO) proclaimed Tel Aviv's White City a World Cultural Heritage site, as "an outstanding example of new town planning and architecture in the early 20th century."[42]

text: Established in 2000, Bauhaus Center Tel Aviv is an organization dedicated to the ongoing documentation of the architectural heritage.[43] In 2003, it hosted an exhibition on preservation of the architecture that showcased 25 buildings.[44] To further the architectural culture in the city, a small Bauhaus Museum opened in Tel Aviv in 2008, designed by Israeli architect Ron Arad.[45][46]

text: Bauhaus staff and students[edit]

text: People who were educated, or who taught or worked in other capacities, at the Bauhaus.