Hergé
Georges Prosper Remi, known by the pen name Hergé, from the French pronunciation of his reversed initials RG, was a Belgian comic strip artist. He is best known for creating The Adventures of Tintin, the series of comic albums that are considered one of the most popular European comics of the 20th century. He was also responsible for two other well-known series, Quick & Flupke and The Adventures of Jo, Zette and Jocko. His works were executed in his distinctive ligne claire drawing style.
Born to a lower-middle-class family in Etterbeek, Brussels, Hergé began his career by contributing illustrations to Scouting magazines, developing his first comic series, The Adventures of Totor, for Le Boy-Scout Belge in 1926. Working for the conservative Catholic newspaper Le Vingtième Siècle, he created The Adventures of Tintin in 1929 on the advice of its editor Norbert Wallez. Revolving around the actions of boy reporter Tintin and his dog Snowy, the series' early instalments – Tintin in the Land of the Soviets, Tintin in the Congo, and Tintin in America – were designed as conservative propaganda for children. Domestically successful, after serialisation the stories were published in book form, with Hergé continuing the series and also developing both the Quick & Flupke and Jo, Zette and Jocko series for Le Vingtième Siècle. Influenced by his friend Zhang Chongren, from 1934 Hergé placed far greater emphasis on conducting background research for his stories, resulting in increased realism from The Blue Lotus onward. Following the German occupation of Belgium in 1940, Le Vingtième Siècle was closed, but Hergé continued his series in Le Soir, a popular newspaper controlled by the Nazi administration.
After the Allied liberation of Belgium in 1944, Le Soir was shut down and its staff – including Hergé – accused of having been collaborators. An official investigation was launched, and although no charges were brought against Hergé, in subsequent years he repeatedly faced accusations of having been a traitor and collaborator. With Raymond Leblanc he established Tintin magazine in 1946, through which he serialised new Adventures of Tintin stories. As the magazine's artistic director, he also oversaw the publication of other successful comics series, such as Edgar P. Jacobs' Blake and Mortimer. In 1950 he established Studios Hergé as a team to aid him in his ongoing projects; prominent staff members Jacques Martin and Bob de Moor greatly contributed to subsequent volumes of The Adventures of Tintin. Amid personal turmoil following the collapse of his first marriage, he produced Tintin in Tibet, his personal favourite of his works. In later years he became less prolific, and unsuccessfully attempted to establish himself as an abstract artist.
Hergé's works have been widely acclaimed for their clarity of draughtsmanship and meticulous, well-researched plots. They have been the source of a wide range of adaptations, in theatre, radio, television, cinema, and computer gaming. He remains a strong influence on the comic book medium, particularly in Europe. He is widely celebrated in Belgium: a Hergé Museum was established in Louvain-la-Neuve in 2009.
Early life
Childhood and youth: 1907–1925
Georges Prosper Remi was born on 22 May 1907 in his parental home in Etterbeek, a central suburb in Brussels, the capital city of Belgium. His was a lower-middle-class family. His Walloon father, Alexis Remi, worked in a confectionery factory, whilst his Flemish mother, Elisabeth Dufour, was a housewife. Married on 18 January 1905, they moved into a house at 25 rue Cranz, where Georges was born, although a year later they moved to a house at 34 rue de Theux. His primary language was his father's French, but growing up in the bilingual Brussels, he also learned Dutch, developing a Marollien accent from his maternal grandmother. A younger brother, Paul, was born five years after Georges. Like most Belgians, his family belonged to the Roman Catholic Church, though they were not particularly devout. He later characterised his life in Etterbeek as dominated by a monochrome grey, considering it extremely boring. Biographer Benoît Peeters suggested that this childhood melancholy might have been exacerbated through being sexually abused by a maternal uncle, Charles Arthur Dufour.Remi developed a love of cinema, favouring Winsor McCay's Gertie the Dinosaur and the films of Charlie Chaplin, Harry Langdon and Buster Keaton; his later work in the comic strip medium displayed an obvious influence from them in style and content. Although not a keen reader, he enjoyed the novels of British and US authors, such as Huckleberry Finn, Treasure Island, Robinson Crusoe and The Pickwick Papers, as well as the novels of Frenchman Alexandre Dumas. Drawing as a hobby, he sketched out scenes from daily life along the edges of his school books. Some of these illustrations were of German soldiers, because his four years of primary schooling at the Ixelles Municipal School No. 3 coincided with World War I, during which Brussels was occupied by the German army. In 1919, his secondary education began at the secular Place de Londres in Ixelles, but in 1920 he was moved to Saint-Boniface School, an institution controlled by the archbishop where the teachers were Roman Catholic priests. Remi proved a successful student, being awarded prizes for excellence. He completed his secondary education in July 1925 at the top of his class.
Aged 12, Remi joined the Boy Scout brigade attached to Saint-Boniface School, becoming troop leader of the Squirrel Patrol and earning the name "Curious Fox". With the Scouts, he travelled to summer camps in Italy, Switzerland, Austria and Spain, and in the summer of 1923 his troop hiked 200 miles across the Pyrenees. His experiences with Scouting would have a significant influence on the rest of his life, sparking his love of camping and the natural world, and providing him with a moral compass that stressed personal loyalty and keeping one's promises.
His Scoutmaster, Rene Weverbergh, encouraged his artistic ability, and published one of Remi's drawings in the newsletter of the Saint-Boniface Scouts, Jamais Assez : his first published work. When Weverbergh became involved in the publication of Boy-Scout, the newsletter of the Federation of Scouts, he published more of Remi's illustrations, the first of which appeared in the fifth issue, from 1922. Remi continued publishing cartoons, drawings and woodcuts in subsequent issues of the newsletter, which was soon renamed Le Boy-Scout Belge. During this time, he experimented with different pseudonyms, using "Jérémie" and "Jérémiades" before settling on "Hergé", the French pronunciation of his reversed initials His work was first published under this name in December 1924.
''Totor'' and early career: 1925–1928
Alongside his stand-alone illustrations, in July 1926 Hergé began production of a comic strip for Le Boy-Scout Belge, Les Aventures de Totor, which continued intermittent publication until 1929. Revolving around the adventures of a Boy Scout patrol leader, the comic initially featured written captions underneath the scenes, but Hergé began to experiment with other forms of conveying information, including speech balloons. Illustrations were also published in Le Blé qui lève and other publications of the , and Hergé produced a book jacket for Weverbergh's novel, The Soul of the Sea. Being young and inexperienced, still learning his craft, Hergé sought guidance from an older cartoonist, Pierre Ickx, and together they founded the short-lived Atelier de la Fleur de Lys, an organisation for Christian cartoonists.After graduating from secondary school in 1925, Hergé enrolled in the École Saint-Luc art school, but finding the teaching boring, he left after one lesson. He hoped for a job as an illustrator alongside Ickx at Le Vingtième Siècle – a conservative "Catholic Newspaper of Doctrine and Information" – but no positions were available. Instead he got a job in the paper's subscriptions department, starting in September 1925. Despising the boredom of this position, he enlisted for military service before he was called up, and in August 1926 was assigned to the Dailly barracks at Schaerbeek. Joining the first infantry regiment, he was also bored by his military training, but continued sketching and producing episodes of Totor.
Toward the end of his military service, in August 1927, Hergé met the editor of Le Vingtième Siècle, the Abbé Norbert Wallez, a vocal fascist who kept a signed photograph of the Italian Fascist leader Benito Mussolini on his desk. Impressed by Hergé's repertoire, Wallez agreed to give him a job as a photographic reporter and cartoonist for the paper, something for which Hergé always remained grateful, coming to view the Abbé as a father figure. Supplemented by commissions for other publications, Hergé illustrated a number of texts for "The Children's Corner" and the literary pages; the illustrations of this period show his interest in woodcuts and the early prototype of his ligne claire style.
Founding ''Tintin'' and ''Quick & Flupke'': 1929–1932
Beginning a series of newspaper supplements in late 1928, Wallez founded a supplement for children, Le Petit Vingtième, which subsequently appeared in Le Vingtième Siècle every Thursday. Carrying strong Catholic and fascist messages, many of its passages were explicitly anti-semitic. For this new venture, Hergé illustrated L'Extraordinaire Aventure de Flup, Nénesse, Poussette et Cochonnet, a comic strip authored by one of the paper's sport columnists, which told the story of two boys, one of their little sisters, and her inflatable rubber pig. Hergé was unsatisfied, and eager to write and draw a comic strip of his own. He was fascinated by new techniques in the medium – such as the systematic use of speech bubbles – found in such US comics as George McManus' Bringing Up Father, George Herriman's Krazy Kat and Rudolph Dirks's The Katzenjammer Kids, copies of which had been sent to him from Mexico by the paper's reporter Léon Degrelle, stationed there to report on the Cristero War.Hergé developed a character named Tintin as a Belgian boy reporter who could travel the world with his fox terrier, Snowy – "Milou" in the original French – basing him in large part on his earlier character of Totor and also on his own brother, Paul. Degrelle later falsely claimed that Tintin had been based on him, while he and Hergé fell out when Degrelle used one of his designs without permission; they settled out-of-court. Although Hergé wanted to send his character to the United States, Wallez instead ordered him to set his adventure in the Soviet Union, acting as a work of anti-socialist propaganda for children. The result, Tintin in the Land of the Soviets, began serialisation in Le Petit Vingtième on 10 January 1929, and ran until 8 May 1930. Popular in Francophone Belgium, Wallez organized a publicity stunt at the Gare de Nord station, following which he organized the publication of the story in book form. The popularity of the story led to an increase in sales, and so Wallez granted Hergé two assistants, Eugène Van Nyverseel and Paul "Jam" Jamin.
In January 1930, Hergé introduced Quick & Flupke, a new comic strip about two street kids from Brussels, in the pages of Le Petit Vingtième. At Wallez's direction, in June he began serialisation of the second Tintin adventure, Tintin in the Congo, designed to encourage colonial sentiment towards the Belgian Congo. Authored in a paternalistic style that depicted the Congolese as childlike idiots, in later decades it would be accused of racism; however, at the time it was un-controversial and popular, with further publicity stunts held to increase sales. For the third adventure, Tintin in America, serialised from September 1931 to October 1932, Hergé finally got to deal with a scenario of his own choice, although he used the work to push an anti-capitalist, anti-consumerist agenda in keeping with the paper's ultra-conservative ideology. Although the Adventures of Tintin had been serialised in the French Catholic Cœurs Vaillants since 1930, he was soon receiving syndication requests from Swiss and Portuguese newspapers too. Though wealthier than most Belgians at his age, and despite increasing success, he remained an unfazed "conservative young man" dedicated to his work.
Hergé sought work elsewhere too, creating The Lovable Mr. Mops cartoon for the Bon Marché department store, and The Adventures of Tim the Squirrel Out West for the rival L'Innovation department store.