Sempe has created a world above and beyond specific cultural and political references, a world all of his own, one populated by long-faced, aquiline-nosed depressives - psychoanalysts, housewives, and concert pianists.
Fran?ais: ? 17 ans, Sempé roule à bicyclette pour un courtier en vins. En 1960, il démarre avec René Goscinny l'aventure du petit Nicolas, dressant une inoubliable galerie de portraits d' "affreux jojos qui tapissent depuis notre imaginaire" (dixit Goscinny). Son humour fin, subtil et allusif allié à un formidable sens du dérisoire caractérisent toute son ouvre. Sa plume traduit sa vision tendrement ironique de nos travers et des travers du monde. Aujourd'hui, Sempé est l'auteur d'une trentaine d'albums. En 1988, il a illustré Catherine Certitude, de Patrick Modiano. Il dessine régulièrement pour L'Express, Télérama, le New Yorker et expose ses dessins et ses aquarelles à Munich, New York, Londres ou Salzburg, où il rencontre toujours un très vif succès.
English: Jean-Jacques Sempé, usually known as Sempé (French: [sɑ?pe]), is a French cartoonist. He is known for the series of children's books he created with René Goscinny, Le petit Nicolas, and also for his poster-like illustrations, usually drawn from a distant or high viewpoint depicting detailed countrysides or cities.
Rien n'est simple = Nothing is simple, Jean-Jacques Sempé
Jean-Jacques Sempé, usually known as Sempé, is a French cartoonist. He is known for the series of children's books he created with René Goscinny, Le petit Nicolas, and also for his poster-like illustrations, usually drawn from a distant or high viewpoint depicting detailed countrysides or cities. Sempé’s world is populated by nosy neighbors, mischievous schoolboys and thwarted lovers, by snooty holidaymakers and crowds of frustrated commuters in the big city. These inimitable drawings and watercolors, accompanied by perfectly judged deadpan captions, are fresh, engaging and funny, and will be appreciated by cartoon connoisseurs and Francophile as well as the general public.
Nothing is simple. Cartoons in black and white from the early 60's. My favourite cartoon is the sixth one because it is sweet, creative and unexpected. ? The second cartoon is sweet too which I like. I enjoy cartoons by Sempé that take me by surprise and make me chuckle, especially the cartoon number 11 (if I am counting correctly) and the one about the ?.
?ditions Deno?l et Sempé, 1962. Page size F6. Folio.
At first I found this book to be only mildly humorous, but Sempé's cartoons quickly grew on me. Like many of the other cartoonists I've seen featured in The New Yorker, his comics are really little works of art. These are wonderful line drawings, simple, yet brimming with detail.
Many play on class distinctions, and the wide gap between the rich and the poor.
There's also a bit of a dark side to Sempé, somewhat reminiscent of . In one cartoon a husband fantasizes about pushing his wife off a cliff, while in her thought balloon, we see the wife ducking just in time to send her husband sailing over her head, and plummeting into the ravine.
Four month ago, the very serious french revue "Philosophie" dedicate a special numero to Sempé : Nietzche, Freud... and even Marx are convocated to confront with the artist. And the dialog is fruitful. When I read Sempé, I understand it easily. First, there is the precision of the feature, the importance of the decor. And small characters tormented by concerns metaphysics, between greatness and ridiculous. And I can't prevent me to smiling and from taking in affection these characters so close, so far. Fran?oise Mouly, the chief editor of "The New Yorker" proposed to him to work on New York. His coloured drawing are, from my point of view the best report as possible on this city. Sempe give to us a sociological and philosophical analysis of human condition but always with humour and tenderness.
Unique illustrations and good clean humour. The drawings speak for themselves, though three or four of the cartoons in this volume include a text in French. Sempé’s sense of humour is wonderful, and often made me laugh. The drawings would also work well in any foreign language course, where the teacher can offer them to the students to describe and discuss.
Edición impresa en Impreco Gráfica en marzo de 1977. Se supone que el libro contó con una edición anterior en mayor tama?o, ya que en las primeras páginas se advierte: Algunos dibujos de la edición en gran formato de Nada es simple no figuran en la presente edición por la imposibilidad de reducirlos.
I love this series of books, the little details in the illustrations are so endearing. The wonderful little anecdotes, such a joy to read and never fails to make me smile.