A rare cartoon by the French artist Fred from the American girlie magazine Bachalor.
And here are some of his single gag pages from Pilote magazine in the late sixties.
Showing posts with label Pilote. Show all posts
Showing posts with label Pilote. Show all posts
Wednesday, October 25, 2017
D'Accord Said Fred
Monday Cartoon Day.
A rare cartoon by the French artist Fred from the American girlie magazine Bachalor.
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And here are some of his single gag pages from Pilote magazine in the late sixties.
A rare cartoon by the French artist Fred from the American girlie magazine Bachalor.
And here are some of his single gag pages from Pilote magazine in the late sixties.
Sunday, July 09, 2017
Pilote Day
Friday Comic Book Day.
Wonderful Fred. I don't think the text needs explaining, but the guy is sayin: NO, I wasn't having a nightmare! Why did you wake me?!"
Wonderful Fred. I don't think the text needs explaining, but the guy is sayin: NO, I wasn't having a nightmare! Why did you wake me?!"
Friday, June 16, 2017
No Subtitles
Wednesday Pretty Pictures Day.
French/Begian artist Eddy Ryssack started out as an animator. he worked on the first Smurfs movie by Belvision. In the sixties he was asked to join the management at Dupuis, which made him put down his drawing pen. But in the seventies he left that job and started drawing again. This is some of the first work he did in 1970/72, for the satirical pages of the French-Belgian edition of the Goscinny edited French magazine Pilote. Although he worked mostly in children's comics after this, here you can see his admiration for Mad magazine. I think his work was never better than here, because it allowed a dark streak to come out of him.
French/Begian artist Eddy Ryssack started out as an animator. he worked on the first Smurfs movie by Belvision. In the sixties he was asked to join the management at Dupuis, which made him put down his drawing pen. But in the seventies he left that job and started drawing again. This is some of the first work he did in 1970/72, for the satirical pages of the French-Belgian edition of the Goscinny edited French magazine Pilote. Although he worked mostly in children's comics after this, here you can see his admiration for Mad magazine. I think his work was never better than here, because it allowed a dark streak to come out of him.
Sunday, May 17, 2015
The Great Achille
Saturday Leftover Day.
I translated this from the French, which makes it still unreadable as well as badly lettered - but I'd say the cartooning of it is pretyy universal. This is on eof the big influential strips of the sixties, Greg Archille Talon, a Gildersleeve type of character.
I translated this from the French, which makes it still unreadable as well as badly lettered - but I'd say the cartooning of it is pretyy universal. This is on eof the big influential strips of the sixties, Greg Archille Talon, a Gildersleeve type of character.
Friday, January 16, 2015
Breaking News
Dedidcation Week.
In 1968, everything changed in France. The new generation took it's frustration with the old complacency to the streets of Paris and protest was everywhere. Conservatives feared there might be a revolution. But unlike America, where there were protests as well, the army and police didn't beat them down as succesfully or the protesters themselves were less extreme, because they were able to ytranslate their anger into a sociatal shift taht brought the new genertion into a position where they were no able and allowed to call the shots. Of course, this was nowhere as clear as in the arts. Older artists were replaced by new, rougher and younger pones. There was not yet a commercial reason to do as, as we are used to now. The kids of those days did not have the buying power they have nowadays, so that in itself was not the biggest influence on the change. it seems society itself was ready for it. Maybe because of the size of the new generation, the baby boomers themselves.
At Pilote this had a huge effect. Revolutionary, multi-talented editor and writer René Goscinny, who had given each and everyone of thee new artist their start in his magazine, was now seen as a representative of the old guard and asked to step down. That he did so, is another sign of his enormous talent. He didn't really step down, he stayed on to oversee what they were doing and helped the new generation find their own voice. New series were started and the mild humor and satire of the mid sixties was replaced by a sharper and more relevant version. This in itself had the effect that the new talent that went into the underground in the US, suddenly was in charge of a large and popular magazine and that has helped them to remain in the public eye until today. The French comics culture still is richer for it, one of the most diverse comic cultures in the world, where a radical style does not immediately mean you have to work for a niche audience. The only thing similar I can think of is what happened at Nickleodeon in the US a couple of decades ago, when the old cartoon traditions were shattered by wild new styles that seemed uncommecially untraditional at first, but turned out to be just as marketable as the set way of doing things.
In Pilote, Goscinny allowed his artists to do several pages of 'political comics' in each issue, a black and white form of satire aimed at whatever was happening in society and the news that same week. Cabu was one of the artists contributing to those pages, which set him on the course that would end with him being one of the driving forces behind Charlie-Hebdo grsaphically. The page I am showing here is a sample that show the emergence of that style. All in all over 500 of such pages must have been produced by talents such as Cabu, Reiser, Wolinski, Alexis, Gotlib and a host of others. None of which was ever reproduced, because it was to much related to it's time.
In 1968, everything changed in France. The new generation took it's frustration with the old complacency to the streets of Paris and protest was everywhere. Conservatives feared there might be a revolution. But unlike America, where there were protests as well, the army and police didn't beat them down as succesfully or the protesters themselves were less extreme, because they were able to ytranslate their anger into a sociatal shift taht brought the new genertion into a position where they were no able and allowed to call the shots. Of course, this was nowhere as clear as in the arts. Older artists were replaced by new, rougher and younger pones. There was not yet a commercial reason to do as, as we are used to now. The kids of those days did not have the buying power they have nowadays, so that in itself was not the biggest influence on the change. it seems society itself was ready for it. Maybe because of the size of the new generation, the baby boomers themselves.
At Pilote this had a huge effect. Revolutionary, multi-talented editor and writer René Goscinny, who had given each and everyone of thee new artist their start in his magazine, was now seen as a representative of the old guard and asked to step down. That he did so, is another sign of his enormous talent. He didn't really step down, he stayed on to oversee what they were doing and helped the new generation find their own voice. New series were started and the mild humor and satire of the mid sixties was replaced by a sharper and more relevant version. This in itself had the effect that the new talent that went into the underground in the US, suddenly was in charge of a large and popular magazine and that has helped them to remain in the public eye until today. The French comics culture still is richer for it, one of the most diverse comic cultures in the world, where a radical style does not immediately mean you have to work for a niche audience. The only thing similar I can think of is what happened at Nickleodeon in the US a couple of decades ago, when the old cartoon traditions were shattered by wild new styles that seemed uncommecially untraditional at first, but turned out to be just as marketable as the set way of doing things.
In Pilote, Goscinny allowed his artists to do several pages of 'political comics' in each issue, a black and white form of satire aimed at whatever was happening in society and the news that same week. Cabu was one of the artists contributing to those pages, which set him on the course that would end with him being one of the driving forces behind Charlie-Hebdo grsaphically. The page I am showing here is a sample that show the emergence of that style. All in all over 500 of such pages must have been produced by talents such as Cabu, Reiser, Wolinski, Alexis, Gotlib and a host of others. None of which was ever reproduced, because it was to much related to it's time.
Class Is Out
Dedication Week.
For today I have an early two page Duduche spread. From #295, which first appeared in 1965. Like all European artists of his generation, he was influenced by the Feldstein Mad and it's mild counterculture messages. In the years after that many new series appeared in Pilote which owed a lot to either Mad itself (like Goscinny and Gotlib's Dingodossiers) or it's artists Jack Davis (like Jean-Claude Mézières).
For today I have an early two page Duduche spread. From #295, which first appeared in 1965. Like all European artists of his generation, he was influenced by the Feldstein Mad and it's mild counterculture messages. In the years after that many new series appeared in Pilote which owed a lot to either Mad itself (like Goscinny and Gotlib's Dingodossiers) or it's artists Jack Davis (like Jean-Claude Mézières).
Wednesday, January 14, 2015
A Class By Himself
Dedication Week.
Here is a regular page of Cabu's Duduche. The irritating professor was one of the main characters. Cabu loved taking the piss out of authority types.
Here is a regular page of Cabu's Duduche. The irritating professor was one of the main characters. Cabu loved taking the piss out of authority types.
Tuesday, January 13, 2015
Schoolboy Pranks
Dedication Week.
In memory of Cabu, one of the French Charlie-Hebdo cartoonists that got killed last week, I am presenting some of his earliest work for Pilote on my blog. His main character was called Duduche, a school boy with a rebellious streak.
In memory of Cabu, one of the French Charlie-Hebdo cartoonists that got killed last week, I am presenting some of his earliest work for Pilote on my blog. His main character was called Duduche, a school boy with a rebellious streak.
Monday, January 12, 2015
Le Grand Cabuche
Dedication Week.
In honor of the cartoonists that died last week, I am going to show some of Cabu's earlier work this week. Like many of his young rebel friends in the fifties, he tried to make a career for himself in the mainstream comics. France in the sixties was different from the US (and California specifically). There the new rebel cartoonists of the baby boomer persuasion went 'underground'. In France, many magazines opened their doors for their new and daring styles... and eventually their beliefs.
Most important of all magazines at that time was Pilote, started in 1959 by René Goscinny, Jean-Michel Charlier and Albert Uderzo as a new French comic weekly for kids. It was where they launched their new projects, such as the airplane strip Tanguy et Laverdure by Charlier and Uderzo, Barbe-Rouge by Charlier and Hubinon and a little strip called Asterix by Uderzo and Goscinny. Soon other strips followed, like Valentin, Norbert and Kari and (although started elsewhere) Iznogoudh. All of these strips had a sharp, almost satirical tone that made them different from the more safe and catholic Dupuis strips from the French-Belgian Spirou. You can say that Goscinny (as the most important editor of Pilote) paved the way for a new generation, the same way Harvey Kurtzman had done for the underground artists. The fact that these two giants had met and worked together in 1949-1951 is a coincidence. But both are linchpins of their field. If these two men had not existed, the whole face of comicdom (and possibly society) would have been different.
But the difference between America and France was, that the extremes were not that far apart. If the American underground had to find their own way (and make their inclusion in society as a whole much more difficult), the French 'new' artists were absorbed into mainstream culture... and for a while even took over.
Cabu was just one of these artists who tried to do a mainstream strip for Pilote. And he succeeded in a big way. For many French people he is better known as the artist/writer of Deduche than the Charlie Hebdo cartoonist. His main character Duduche was a tall thin schoolboy, with a distinct streak of resistance. A voice of a generation. Cabu did a gag a week and managed to create a whole set of albums that way. In the end Cabu let go of him, when he found a new career as a cartoonist.
In the meantime, a lot had changed. But I will tell that story later this week. First I will show a couple of pages from Duduche from my meager collection (which mainly consists of issues from 1967, the year before everything changed at Pilote.
The portrait at the top comes from a later issue of Pilote, when artists were depicted that way above every story.
We start with four delightfully unsentimental Christmas cards from 1967.
In honor of the cartoonists that died last week, I am going to show some of Cabu's earlier work this week. Like many of his young rebel friends in the fifties, he tried to make a career for himself in the mainstream comics. France in the sixties was different from the US (and California specifically). There the new rebel cartoonists of the baby boomer persuasion went 'underground'. In France, many magazines opened their doors for their new and daring styles... and eventually their beliefs.
Most important of all magazines at that time was Pilote, started in 1959 by René Goscinny, Jean-Michel Charlier and Albert Uderzo as a new French comic weekly for kids. It was where they launched their new projects, such as the airplane strip Tanguy et Laverdure by Charlier and Uderzo, Barbe-Rouge by Charlier and Hubinon and a little strip called Asterix by Uderzo and Goscinny. Soon other strips followed, like Valentin, Norbert and Kari and (although started elsewhere) Iznogoudh. All of these strips had a sharp, almost satirical tone that made them different from the more safe and catholic Dupuis strips from the French-Belgian Spirou. You can say that Goscinny (as the most important editor of Pilote) paved the way for a new generation, the same way Harvey Kurtzman had done for the underground artists. The fact that these two giants had met and worked together in 1949-1951 is a coincidence. But both are linchpins of their field. If these two men had not existed, the whole face of comicdom (and possibly society) would have been different.
But the difference between America and France was, that the extremes were not that far apart. If the American underground had to find their own way (and make their inclusion in society as a whole much more difficult), the French 'new' artists were absorbed into mainstream culture... and for a while even took over.
Cabu was just one of these artists who tried to do a mainstream strip for Pilote. And he succeeded in a big way. For many French people he is better known as the artist/writer of Deduche than the Charlie Hebdo cartoonist. His main character Duduche was a tall thin schoolboy, with a distinct streak of resistance. A voice of a generation. Cabu did a gag a week and managed to create a whole set of albums that way. In the end Cabu let go of him, when he found a new career as a cartoonist.
In the meantime, a lot had changed. But I will tell that story later this week. First I will show a couple of pages from Duduche from my meager collection (which mainly consists of issues from 1967, the year before everything changed at Pilote.
The portrait at the top comes from a later issue of Pilote, when artists were depicted that way above every story.
We start with four delightfully unsentimental Christmas cards from 1967.
Tuesday, November 19, 2013
If I Had A Mallet
Tuesday Comic Strip Day.
Pat Mallet is a French cartoonist, who is best known for his full page cartoons about 'little green men'. In the late sixties he was part of the same crowd that did funny stuff for Pilote Magazine Pilote was run by Asterix author René Goscinny, who had met Mad creator Harvey Kurtzman twenty years before and was responsible for bringing more and more Mad style humor to Pilote. Together with Gotlib, he did Les Dingodossiers, a series of satirical features that were sort of like 'statement and samples' articles of Al Feldstein's Mad of the sixties (although Kurtzman had done a couple of those for Varsity Magazine in the late forties - when we met and worked with Goscinny). Later, he would allow some of his contributors to do more topical stuff. But before the Paris 'revolution' of 1968 he was more interested in the more generally irreverant and silly. Mallet fitted right into that and did a large amount of tories, some of which featured his martian character. Like this sixpager, which also has the bonus of being one of those selfreferential comic stories I like.
Pat Mallet is a French cartoonist, who is best known for his full page cartoons about 'little green men'. In the late sixties he was part of the same crowd that did funny stuff for Pilote Magazine Pilote was run by Asterix author René Goscinny, who had met Mad creator Harvey Kurtzman twenty years before and was responsible for bringing more and more Mad style humor to Pilote. Together with Gotlib, he did Les Dingodossiers, a series of satirical features that were sort of like 'statement and samples' articles of Al Feldstein's Mad of the sixties (although Kurtzman had done a couple of those for Varsity Magazine in the late forties - when we met and worked with Goscinny). Later, he would allow some of his contributors to do more topical stuff. But before the Paris 'revolution' of 1968 he was more interested in the more generally irreverant and silly. Mallet fitted right into that and did a large amount of tories, some of which featured his martian character. Like this sixpager, which also has the bonus of being one of those selfreferential comic stories I like.
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