Here, when we mention “Masters” we mean something more than particularly virtuous draftsmen.
“Talent” is a lame term when one wishes to describe Moebius, Pratt, Kirby, or, addressing the living, Lorenzo Mattoti. Famous for his revolutionary work in comics and illustration, namely for his dashing approach to both colour and composition, the Paris-based Lombardian artist belongs to that hallowed group of recurrent creators of The New Yorker covers.
It is precisely that branch of his fundamental body of work that is now in exhibition at the Italian Cultural Institute in New York.
Until March the 8th, the Met and the MOMA can wait.