This is an exhibition I stumbled upon by accident: until January 31, Somerset House hosts a small Tintin show. It focuses on the black-and-white era and features some original drawings – or, more precisely, facsimiles thereof. While I don’t see the point of going to an exhibition to see facsimiles, I guess they can still be interesting if you’re interested in Hergé’s production process.
There is one exhibit I found fascinating though: the sports page of the Le Soir newspaper from April 15, 1944, which contains a 4-panel strip from the Tintin story Les Sept Boules de Cristal. The diminutive format of this strip – approximately 20 by 5 cm -, which might be due to wartime paper shortage, is amazing. Even if French-speaking readers were able to read Tintin comics in a much larger format after the war in its own magazine, the tiny Le Soir version was the original one that was read by probably hundreds of thousands of people.
If you happen to be in London anyway, it can’t hurt stopping by Somerset House to see the exhibition – admission is free, after all. For everyone else, getting the exhibition catalogue (authored by Pierre Sterckx and translated by Michael Farr) might be the better alternative.
There is a lot to like about the exhibition The Adventures of the Ligne claire. The Herr G. & Co. Affair (German: “Die Abenteuer der Ligne claire. Der Fall Herr G. & Co.”), which can still be seen at Cartoonmuseum Basel until March 9, 2014. With a lot of original drawings and original editions, it shows what ligne claire (“clear line”) comics are and tells the story of the ligne claire style: from precursors such as Bringing Up Father and Bécassine, through Hergé and his contemporaries, to Joost Swarte coining the term “ligne claire” in 1977 and the ligne claire revival from the 1980s onwards.
There are only two things that the exhibition lacked:
Although some recent examples of ligne claire comics are exhibited (e.g. Christophe Badoux, Chris Ware), there is no mention of ligne claire webcomics – even though these exist, e.g. Tozo by David O’Connell, or The Rainbow Orchid (albeit that’s only an extensive preview to a printed comic) by Garen Ewing. The latter also interviewed the former once. It would have been interesting in the exhibition context to examine the clash of the new, online presentation format with the venerable drawing style.
My other minor complaint about the exhibition is that it mentions “André Franquin’s atom style” (or “atomic style”) as a comic style concurrent with ligne claire, without explaining what that atom style actually is. Some googling led me to Paul Gravett’s website, who has curated the exhibition In Search of the Atom Style in Brussels in 2009. He says, the atom style “seems to be less an artistic style to be adopted, and more an attitude, a state of mind, or as Swarte sees it, ‘… the taste for inventing things in a positive direction.'” – in other words, it’s more about which objects to depict, rather than how to depict them, thus similar to retro-futurism. Furthermore, the atom style appears to have been closely linked to the Marcinelle/Charleroi school (or is a revival thereof). “Atom style” (a term coined by Joost Swarte too) seems to be a difficult and vague stylistic designation at best, which makes it even more regrettable that the Basel exhibition uses it only offhandedly.