Sempé and the genius of almost nothing

You may have had the chance to admire the works of Jean-Jacques Sempé projected onto the walls and facades of Geneva (Un printemps avec Sempéexhibition organized by the Société de Lecture de Genève)? On a pandemic night, to be offered a glimmer of light in the surrounding darkness – wasn’t that the sign of a world soon to be regained?

Referring to the album by cartoonist Sempé in New YorkMarc Lecarpentier speaks of the “genius of almost nothing”. Sempé “knew how to convey the reality of a character’s thoughts with absolute detail…” . Everyone, young or old, remembers the delicate, tender drawings of Petit Nicolas.

Born in 1932 in Pessac near Bordeaux, Sempé had a difficult childhood. “I had a very unfunny childhood. That’s probably why I liked happy things” (Childhood). He began drawing at the age of 12, observational but always humorous. After a rather poor schooling, he found a job as a delivery boy for a wine broker. His drawings were first published in the early 1950s in Sud Ouest under the pseudonym DRO. Dismissed from his delivery job for his absent-mindedness, he joined the army in Paris. On leave, he submitted his drawings to editorial offices. It was in the Belgian newspaper Le Moustique that the adventure of Petit Nicolas began. His meeting with René Goscinny, who worked on the same paper, gave birth to the Petit Nicolas comic strip in 1955. Spotted by Denoël, the two published the first edition of the famous Petit Nicolas adventures in 1960.

In 1962, his first collection of drawings was published under the title Rien n’est simple, followed by a number of albums – including his most recent, Garder le cap – reflecting his tenderly ironic vision of our shortcomings.

Sempé’s long career included many collaborations, notably with Paris-Match, L’Express, Le Nouvel Observateur and Télérama. But it was in 1978 that he saw his dream come true: The The New Yorker granted him the first of the 109 covers he has designed since (RTS Culture At the age of 84, Sempé ended his collaboration with The New Yorker..)

Despite his impressive talent, the cartoonist keeps saying that he would have “preferred to be a pianist”, like his idol Duke Ellington. “But I didn’t have the opportunity to study music, so it was better for me to draw. His favorite is his 1979 album Les Musiciens.

So subtle that he prefers to remain unnoticed in the street, in life: the better to listen, the better to observe. Otherwise, some of the human comedy he brings to life in his drawings might escape him. He would no longer be free. – And what is the secret of humor,” he concludes, “if not freedom”(Scriptorium L’Illustré, Swiss magazine 06/01/1966).

With the pandemic dragging on and on, Sempé’s benevolent humor gives us a great deal of freedom! Join us at the entrance to the Agora on the Riponne site to immerse yourself in the world of this genius cartoonist (May 11 to June 8, 2021).

Catherine, Riponne site

Thanks to Jean-Jacques Sempé and Galerie Martine Gossieaux, 56, rue de l’Université, Paris 7e. www.galeriemartinegossieaux.com