Antonio Hernandez Palacios

Antonio Hernández Palacios (1921–2000) was one of the most brilliant and iconic artists of the Spanish school. He enrolled at the Madrid School of Fine Arts just as the Civil War broke out, cutting short his studies. Despite these turbulent times, he took on a wide range of graphic design projects far from the world of comic art – advertising, illustrations, posters and even cartoons – and built up a modest reputation.

Almost by chance, he replied to a small advertisement in the press from a publisher seeking artists. It was the magazine Trinca. Impressed by his skills, they immediately entrusted him with two regular series which would accompany him throughout his life: a Western, Manos Kelly (1970), and a historical comic, El Cid (1970), both published in France by Mon Journal and later by Les Humanoïdes Associés. Palacios was in luck: at that time, Trinca was Spain’s leading comic magazine and its rates were on a par with the rest of Europe. He published his first pages in the first issue, which was released in November 1970. Right from the start, his generous, detailed and baroque art style stood out. It follows in the tradition of Spanish art of the time, represented by internationally renowned artists such as Victor de la Fuente, who was also featured in Trinca. But the venture came to an end in 1974. 

His artwork had not, however, gone unnoticed: Henri Filippini spotted him and recommended him to Claude Moliterni, then editorial director at Dargaud. Moliterni had just launched the magazine Lucky Luke (1974) and was in need of major Western series. Palacios created the Mac Coy series for him, which spanned 21 albums, with Jean-Pierre Gourmelen as scriptwriter. 

In Spain, following the change of regime, Palacios set out to depict the Spanish Civil War. Only four volumes were published, three of which by Les Humanoïdes Associés. He also produced an album on The Battle of Roncesvalles (Les Humanoïdes Associés) and a book on Simón Bolívar, El Libertador (Dargaud).